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MODERN PHOTOGPAPHY 
 
 IN 
 
 THEOPY AND PRACTICE 
 
 A HAND BOOK TOP THE AMATEUR 
 
 Bv HENRY G. ABBOTT 
 
 CHICAGO: 
 GEO K HAZLITT k CO., 
 
 PUBLISHERS 
 
Copyrighted 1898 
 Copyrighted 1899 
 
 BY 
 GEO. K. HAZLITT * CO. 
 
This volume has been printed for the convenience of 
 amateur photographers. There are two kinds of ama- 
 teurs, one that presses the button and allows the profes- 
 sional to do the rest and the other, the earnest student, 
 who has ambiiion to become, in every sense of the 
 word, a photographer. This volume was not prepared 
 for the former, for he rarely, if ever, makes any prog- 
 ress, and in fact does not seek to do so. Many diffi- 
 culties and obstacles are encountered by every amateur 
 and this volume is intended to reduce these difficulties 
 as much as possible, by giving advice and instruction, 
 which, if followed carefully, will save the amateur's 
 money and many perplexities and annoyances. 
 
 Cleanliness is a prime requisite in all the various 
 branches of photography, from the loading of the plate 
 holder to the finishing of the print, if we would meet 
 with success. "Where formulae are given, the exact 
 proportions must be adhered to. There are no short-cuts 
 in photography and no guesswork when using chemi- 
 cals. Every chemical must be weighed or measured 
 with as much care as though you were putting up a 
 prescription for a patient. Carelessness in regard to 
 either of the above points will only lead to failure and 
 make you disgusted with your camera, your plates and 
 
 1 
 
2 PREFACE. 
 
 yourself. Ninety-nine times out of a hundred, failures 
 are the result of carelessness and are not the fault of 
 the camera maker, or the plate or paper manufacturer. 
 Mix common sense reasoning with your chemicals. 
 Read carefully, not superficially, all the works and trade 
 journals on photography that are within your reach. 
 The trade journal or book is poor, indeed, which cannot 
 give you some new idea, or at least throw light on some 
 subject which heretofore has been unintelligible to you. 
 This work is based on the experiences of the writer 
 who is an amateur, not a professional. He has not 
 graduated and probably never will, and is constantly 
 running up against troublesome problems. He well 
 remembers all the perplexities he had to contend with 
 and hopes and believes that this volume will save the 
 amateur much worry and needless expense. 
 
 H. G. A. 
 
 NOTE TO THE rOURTH EDITION. 
 
 Since the publication of the first edition two new and 
 important chapters have been added, for which the 
 author is indebted to Messrs. G. J. M. Ashby and Ralph 
 D. Cleveland. These chapters, which treat on halation 
 and the use of stops, are of vital importance to every 
 amateur and are written in a manner to be easily under- 
 stood even by the novice. H. G. A. 
 
CONTENTS 
 
 Chapter I. page 
 Classification of Cameras 5 
 
 Chapter II. 
 Description of the Types of Cameras 10 
 
 Chapter III. 
 
 Action of Light ; Plates ; Loading the Holders ; The 
 Record 21 
 
 Chapter IV. 
 
 The Use of the Tripod; Focusing Cloth; Exposure 37 
 
 Chapter V. 
 
 Development; Trays; Fixing Box ; Drying Rack; Fixing 
 AND Washing 44 
 
 Chapter VI. 
 
 The Dark Room; Location; Dark Room Lanterns 53 
 
 Chapter VII. 
 
 The Use of Factors; Developers; Fixing Baths 67 
 
 Chapter VIII. 
 
 Intensification; Reduction; Faults of Negatives 79 
 
 Chapter IX. 
 
 Spotting ; Retouching 93 
 
 Chapter X. 
 
 Printing Frames; Dusting; Printing and Toning of 
 
 Papers 106 
 
 3 
 
4 CONTENTS. 
 
 Chapter XI. 
 Freak Photographs; Moonlights; Lightning Photos 167 
 
 Chapter XII. 
 Night Photography 176 
 
 Chapter XIII. 
 Stereoscopic Photography; Panoramic Photography 180 
 
 Chapter XIV. 
 Color Screens and Ray Filters 191 
 
 Chapter XV. 
 Flash Light Photography 197 
 
 Chapter XVI. 
 
 Lantern Slides 201 
 
 Chapter XVII. 
 
 Transparencies and Enlargements ; Bromide Enlarge- 
 ments 210 
 
 Chapter XVIII. 
 
 Trimming and Mounting of Prints; The Scrap Book 224 
 
 Chapter XIX. 
 
 Halation; Non-Halation Plates; Backing Plates 231 
 
 Chapter XX. 
 
 Stops or Diaphrams and Their Uses 240 
 
MODERN PHOTOGRAPHY. 
 
 CHAPTER I. 
 
 Cameras are divided into two general classes, snap- 
 shot or box cameras and tripod or professional cameras. 
 It is true that the box camera may also be used in con- 
 nection with the tripod and that all, or nearly all, of 
 them are arranged for time exposures as well as instan- 
 taneous or snap-shot work. Box cameras are again 
 divided into fixed focus and bellows cameras, into those 
 using films and those using glass plates and those using 
 single plates and those fitted with a magazine. Bellows 
 cameras are again divided into two classes, those with a 
 bellows inclosed in the box and worked backward and 
 forward by means of an indicator on the top of the box 
 and those having an exposed bellows which is drawn 
 out by letting down the front of the box. The ave- 
 rage amateur buys the cheapest camera he can find, as a 
 rule and often the results obtained disgust him with 
 photography forever. If you desire to take up photog- 
 raphy with a view of making good pictures, artistic ones 
 and propose to stick to it until you succeed, by all means 
 purchase a good article at the start. If, however, you 
 
 6 
 
6 MODERN niOTOGRAPHY 
 
 simply wish to press the button and then hire some pro- 
 fessional to develop your plates and print and tone your 
 pictures, then any camera is good enough for you, no 
 matter how cheap and how poor. 
 
 Now as to whether you Vill select a camera using 
 films or a camera using glass plates you must be the 
 judge. The film camera possesses the advantage of 
 being light and under certain circumstances is to be 
 preferred to a camera which uses glass plates. 
 
 The war correspondent and explorer could hardly use 
 glass plates to as good advantage as films, as he would 
 have to rely upon a changing bag to change his plates 
 in and the glass plates being fragile would be liable to 
 be broken and their faces scrubbed and scratched. 
 
 Let us explain the difference between a film and a 
 plate camera, in order that you, who have not alread} 
 made a selection, may thoroughly understand it. 
 
 A plate camera is one using glass plates coated with 
 a sensitive emulsion and this plate is held in what is 
 known as a plate holder, with the coated or emulsion 
 side outward, so that the light, passing through the 
 lens, when the shutter is open, falls upon the sensitive 
 emulsion. A film camera is one in which the image is 
 recorded upon a piece of celluloid, which is coated with 
 a sensitive emulsion, as in the case of the glass plate. 
 Films are of two general types, roll, or cartridge and 
 cut or fiat films. The roll or cartridiie film is a con- 
 tinuous strip which is coated on one side, while the cut 
 
A Study in Lighting. 
 
 1-. Y. Judil. Pciulleton, t)re. 
 

 K 
 
IN THEORY AND PRACTICE. 7 
 
 film is the size of a single picture. The cut film is held 
 in position in a holder, the same as a plate but the 
 cartridge film needs no holder, since it unwinds from a 
 spool at one side an^ winds up on another spool on the 
 other. Now there i? another difference between a 
 cartridge and a cut film. To load your plate holders 
 with cut films you require a dark room the same as you 
 do if you are using plates but a cartridge film can be 
 put in or taken out of the camera in the daylight. The 
 film is rolled upon a spool and is covered with a strip of 
 black paper from one end to the other and this strip 
 extends several inches beyond the film on each end. 
 This paper connects with the flanges on the spool and 
 thus forms a light-tight spool, known as a cartridge. 
 The spool can be inserted in the camera at the back, 
 after loosening the fastening which holds the black paper 
 in place. The paper is then threaded into the slot on 
 the other spool, which is on the opposite side of the 
 camera. The camera is then closed and the key turned 
 until the black paper has been wound off and the film is 
 then in place ready for exposure. The black paper is 
 still back of the film and at regular intervals, depending 
 on the size of the picture, the black paper is numbered 
 in white ink, from i to 12, or whatever number of 
 "exposures" the cartridge contains. In the back of the 
 box will be found a small red window and the white 
 figures are easily seen through it, showing just how far 
 to turn the key. 
 
8 MODERN PHOTOGRAPHY 
 
 You cannot become a photographer in a day, or a 
 month, or a year. Some persons seem to have the 
 happy faculty of taking good pictures from the start, 
 while others after months of experience are little better 
 ♦han they were the first week. The theoretical ama- 
 teur, who can tell you all about lenses and cameras, 
 exposures and development is legion. Theory is all 
 well enough but with your theory combine practice. 
 Never mind about the angle of your lens or its focal 
 length until you have mastered some of the more neces- 
 sary details. 
 
 Before selecting a camera you must make up your 
 mind just what kind of work you wish to do. You can 
 perhaps better understand what you want after we have 
 passed in review the leading types of cameras on the 
 market. The difference between a good camera and a 
 poor one lies very largely in the lens and yet a cheap 
 lens is sometimes very effective. For landscapes a single 
 lens answers very well but when we come to use these 
 lenses in photographing buildings, etc., we find that they 
 have a decided tendency to lean and it makes no differ- 
 ence how careful we may be, this objection cannot be 
 done away with. In late years, however, there has been 
 a marked improvement in all of the cheap, single lenses 
 and we have seen such lenses in very cheap cameras that 
 were so perfect that even tall buildings were perfectly 
 upright and they apparently differed from the better 
 grade of rapid reclilinears only in the depth of detail 
 
IN THEORY AND PRACTICE. 9 
 
 and the rapidity of action. Most of the modern cameras 
 companies manufacture their box cameras with single 
 achromatic or rapid rectilinear lenses and fix their prices 
 accordingly. The lens is to the camera what the eye is 
 to the human body. If the lens is poor or limited in 
 capacity, to just such an extent will the picture lack 
 details, sharpness and parallelism of lines. Our advice 
 is, if you propose to follow up and master all the de- 
 tails of photography, by all means buy a camera with a 
 rectilinear lens and you will then be fitted for all the 
 various kinds of work, as landscapes, interiors, portraits, 
 views of buildings, etc. For good portrait work, how- 
 ever, a special lens is required, one made for the pur- 
 pose. Next to the lens in importance comes a good 
 shutter, one that is free from jar and tremble; light, but 
 yet rigid enough to stand the strain of long use. The 
 camera should be simple in construction, free from com- 
 plicated mechanism, compact and light. 
 
 Nearly every camera has its own good points and has 
 its friends and we therefore shall not try to influence 
 the reader in his selection further than to advise him to 
 purchase a good article at the start. We shall review 
 the leading types of cameras on the market and leave 
 the selection to the reader. 
 
CHAPTEr? 
 
 We will endeavor to thorough explain the various 
 kinds of cameras on the market. As we said before, box 
 cameras are divided into two general types, those hav- 
 ing a fixed focus and those having a bellows. Fig. i 
 illustrates the Premo V, a cheap camera of the universal 
 or hxed focus type. By a fixed focus is meant that 
 
 this camera has no bellows 
 to draw in or out, for the 
 lens is of the single achro- 
 matic type, so that no matter 
 whether you are taking a 
 picture six feet or five hun- 
 dred feet away, it will be in 
 focus just the same. The 
 term focus will be made 
 clear when we come to a 
 description of the practical use of the instrument. This 
 camera, like all others that we shall describe, uses glass 
 plates. The plate is inserted in the holder and the holder 
 is inserted in the rear of the camera box, through a door 
 made for the purpose. Then when the slide is pulled 
 we are ready to take a shot. This camera has an 
 adjustable diaphragm, having large and small openings 
 for the admission of light. The shutter is adapted for 
 
 10 
 
IN THEORY AND PRACTICE. 
 
 II 
 
 both time and instantaneous work and the speed can be 
 governed by means of a small lever at the front. The 
 large central opening in the end is the lens and the two 
 smaller ones at the top and side are the finders. The 
 finder consists of a small lens and just back of it is a 
 small mirror placed at an angle, so that the view is re- 
 flected upwards and is seen on the small piece of ground 
 
 glass inserted in the 
 top of the box. By 
 shading the finder with 
 the hand and pointing 
 the camera in the di- 
 rection of the object or 
 scene to be photo- 
 graphed, a reduced 
 image of the object 
 may be seen on the 
 ground glass and as 
 the finder is made to coincide with the lens, the view we 
 see in the finer is the one we will have on our plate. The 
 finder gives the same view that the focusing screen at 
 the rear does, except that the view is reduced in size and 
 is not upside down as it is on the focusing screen. On 
 the focusing screen, in the rear of a bellows camera, the 
 view is transmitted by the large lens with which the pic- 
 ture is taken but in the finder it is transmitted by the 
 small finder lens. Other cameras of this type have a bel- 
 lows concealed in the box and this bellows is moved back 
 
 Fig 2. 
 
12 MODERN PHOTOGRAPHY 
 
 and forth by a lever. Such cameras do not use fixed 
 focus lenses and hence the necessity of focusing by draw- 
 ing in or pulling out the bellows. 
 
 Fig. 2 illustrates the Premo Sr., a type of bellows or 
 folding box camera. This instrument is first class in 
 every respect and represents one of the very best types 
 ^)f cameras for the amateur. It is made in various sizes 
 
 from 31^x4^ to 8x10. 
 
 • The 4x5 size is the most 
 
 popular among amateurs in 
 all makes of cameras. It 
 is a great mistake for the 
 novice to purchase a large 
 ! camera. The larger the 
 ' camera the greater the ex- 
 " ■ ' pense involved for plates, 
 
 developing trays, washing 
 and hypo boxes, paper, printing frames and mounts. A 
 well chosen subject, properly exposed, developed and 
 printed, in a 4x5 size, will always stand enlarging to 
 8 x 10 or larger. Mistakes and failures are bound to 
 happen to all amateurs and for this reason it will found 
 much more economical to use a small, rather than a large 
 camera. Plates, paper, etc., for the 4x5 size are kept 
 in stock by dealers in all parts of the world, while other 
 sizes are not always to be had so readily. The Premo 
 Sr., 4x5, when closed, measures 4^x5^x7 inches. Fig. 
 3 illustrates this camera when closed. 
 
IN THEORY AND PRACTICE, 1 3 
 
 By pressing a concealed button at the top, the front falls 
 down into position and is rigidly held there by a brace, 
 which is shown at the right in Fig. 2. Just above the 
 words Premo Sr. you will see a brass lever. This lever 
 is connected with a cam and by turning it, as shown in 
 the illustration, the front of the camera is bound in posi- 
 tion. Push this lever to the left, (looking at the camera 
 from the front) and draw out the bellows and clamp it 
 in position by turning the lever as shown in the illustra- 
 tion. On the right hand side will be found a white cel- 
 luloid scale and an index finger. The scale is for focus- 
 ing when using the instrument as a hand camera. If the 
 main object to be photographed is fifty feet away, you 
 draw out the bellows until the index finger points to fifty 
 on the scale. The small square box on the left is the 
 view finder previously referred to and it is pivoted so 
 it can be turned over when taking high or panel pic- 
 tures. Two kinds of pictures can be taken, one which 
 is four inches high by five inches wide and another which 
 is five inches high by four inches wide. The camera is 
 now in a position to take the former and in the event that 
 we wish to photograph a church with a steeple, a high 
 building or tall trees, we simply turn the camera over, 
 with the view finder on top and turn the finder on its 
 pivot. We will now get a picture which is five inches 
 high and four inches wide. 
 
 This camera has a rack and pinion for fine focusing 
 when using the ground glass. To the right and left 
 
MODERN PHOTOGRAPHY. 
 
 of the bellows will be seen the two milled nuts which 
 operate the mechanism. On the front board will be 
 seen the lens, shutter and diaphragm and in order to 
 examine and understand their workings see the en- 
 larged vdew at Fig. 4. Ordinarily the diaphragm con- 
 sists of a circular piece of metal plate with various 
 
 sizes of holes cut through it 
 and is also known as the 
 stop. This camera has what 
 is known as an iris diaph- 
 ragm, similar to that in the 
 human eye and this diaph- 
 ragm opens and shuts by 
 moving the small index at 
 the bottom marked C. The 
 use of the diaphragm will be 
 explained later on. The cen- 
 ter is occupied by the lens 
 and as it is of the double va- 
 riety, one half is located in front and the other half in the 
 rear of the lens tube, leaving room for both the diaphragm 
 and shutter between the front and back combinations, 
 In the illustration the diaphragm is opened to a 16 stop 
 and the shutter is also open. The circular plate above 
 the lens is the shutter mechanism and dial. It will be 
 obserVeffhat this dial is marked 100 — 25 — 5 — 2 — i — B. 
 • — T. If the dial is turned until the hand points to 100, 
 then j-J-^ second exposure will be made, if to 25 the 5*5, 
 
IN THEORY AND PRACTICE. ij 
 
 if 5 then i, if 2 then ^ and if i then i second exposure. 
 When the dial is turned until the hand points to B then the 
 shutter will remain open so long as the pressure is ex- 
 erted on the bulb, or if the hand points to T then 
 one pressure of the bulb will open the shutter and the 
 next pressure closes it. To manipulate the shutter, the 
 lever A at the top is moved to the left, as shown by 
 the dotted lines at F, until a click is heard. This winds 
 the spring which sets the shutter in motion. The shutter 
 can be released either by pressing upon the lever D or 
 by pressing the bulb, which is shown in Fig. 2. 
 
 The front board of this camera can be moved up or 
 down or to the right or left as occasion may require and 
 is technically known as a double sliding front. By con- 
 sulting Figs. 2 and 3 you will observe a pair of hinges 
 on the left hand side of the box. By pressing another 
 concealed button you can open the door to which 
 these hinges belong and can then open a small door 
 in the rear of the box. This small door is opened when 
 using the focusing screen. In looking through the side 
 door we see the back of the camera, consisting of a focus- 
 ing screen, which covers the 4x5 opening. This ground 
 glass is spring-actuated and recedes to allow the in- 
 sertion of the plate holder. Back of the focusing screen 
 there is sufficient space in which to carry two plate hold- 
 ers, so that the camera in all will accommodate three 
 plate holders, holding two plates each or six plates in all: 
 The back of the camera has a double swing; that is, the 
 
i6 
 
 MODERN PHOTOGRAPHY 
 
 entire back, focusing screen, plate holder and all can be 
 tilted forward and back, or horizontally from right to 
 left. The purpose of this will be explained later. 
 This camera has two tripod plates for holding it in posi- 
 tion for either panel or square pictures. 
 
 Fig. 5 illustrates the Reversible Back Premo, which is 
 
 ^!sr- s- 
 
 ve.y similar to the Premo Sr, except that it has a much 
 longer bellows and the back as well as the front of the 
 box opens and forms a bed for the bellows to work on. 
 When a panel picture is desired with this camera, it is 
 not necessary to turn it over but simply reverse the back 
 without moving the camera itself This adjustment is 
 especially desirable when the camera is used on a tripod. 
 The bellows on this camera in the 4x5 size is i7/^ 
 inches long, while the draw of the Premo Sr. is about 
 8 inches. This extra long bellows is very useful, as 
 
IN THEORY AND PRACTICE. 
 
 17 
 
 the camera will then take full sized pictures; that is, will 
 reproduce objects in their natural size, and with it you 
 can do copying and enlarging. As a usual thing, one 
 plate holder is furnished with each camera and extra 
 
 holders can be purchased at any time. A good outfit 
 includes six holders but the amateur can get along very 
 nicely with three, as he then has six plates at his disposal 
 before reloading. 
 
 Fig 6 illustrates the Magazine Cyclone Camera, a 
 type of camera which has come on the market in 
 late years. In outward appearance it is not unlike 
 the camera shown in Fig. i, but internally it is quite 
 different. The box is fitted with a single universal fixed 
 focus lens of good quality and has two view finders. 
 This camera holds twelve plates at one loading and 
 
l8 MODERN PHOTOGRAPHY 
 
 does not require any extra plate holders but is complete 
 in itself. The shutter is always set. The illustration 
 shows the camera with a part of the box cut away so 
 that the magazine is exposed to view. The plate hold- 
 ers or carriers are made of metal, with round holes 
 punched in them at the bottom, for the reception of 
 the supports. When the camera is loaded the twelve 
 carriers stand upright, leaving the outer plate exposed, 
 ready to take the picture. When the picture is taken, 
 turn the button on the top of the camera to the right, 
 which releases and drops the exposed plate, leaving the 
 next one ready for another picture. This operation can 
 be repeated until all of the twelve plates have been ex- 
 posed. When all the plates have been exposed, the 
 camera is taken into the dark room, the back is removed 
 and the tray containing the twelve plates drawn out. The 
 metal carriers are lifted off the pins, the plates removed 
 and new ones inserted. The tray is now replaced in 
 the camera and the carriers holding the plates are in- 
 serted again in an upright position. The back is now 
 put on and you are ready for twelve more views. 
 
 Fig. 7 illustrates the Adlake Repeater, a magazine 
 camera, somewhat similar to the one just described. The 
 cut represents the repeater with a portion of the box cut 
 away to show the internal mechanism. Thecamera holds 
 twelve plate- holders, six of which may be s'een standing 
 upright at the back of the camera. The holders have 
 projecting wires at the bottom, which are represente-'i by 
 
IN THEORY AND PRACTICE. I9 
 
 dots and rest upon metal slides. The front holder has 
 it wires between the teeth of the notched arm. After 
 making an exposure, the lever is moved one number, 
 
 Fig. 7. 
 
 which lowers the arm and holder and allows the holder 
 to pass the strip at the top which holds it in position. 
 The holder then falls to the bottom, as indicated by the 
 dotted lines. After exposure the plates are released by 
 reversing the lever, which raises them again into an up- 
 right position. A strong spring behind the plate holders, 
 moves them forward and keeps the front plate in the 
 
20 MODERN PHOTOGRAPHY 
 
 focal plane. This camera, like the others described, 
 is arranged for both time and instantaneous work and 
 has two view tinders for panel or square pictures. 
 
 We have now described the various classes of cameras 
 on the market, with the exception of special cameras, 
 such as the stereoscopic, panorama, copying, etc., which 
 will be described when we reach the point where the 
 amateur will feel that he can use use them successfully. 
 It is impossible with the space at our command to de- 
 scribe all the various makes of cameras on the market 
 but they all belong to either one or the other of the types 
 already described and vary only in their minor detals of 
 manufacture 
 
CHAPTEr? fSI. 
 
 Whether you develop your plates j^ourself, or have 
 ;he work done for you by the professional, it is necessary 
 to know something about plates and the chemical action 
 of light and the more you know in this respect the greater 
 your chances of having good negatives. You are doubt- 
 less aware of the fact that the action of light is quite dif- 
 ferent on various materials. With one material it has a 
 tendency to bleach, while with another it has the reverse 
 effect and darkens or discolors. The housewife lays 
 her linen on the grass in the sunlight in order to bleach 
 it and yet the same sunlight changes the color of nearly 
 all red paint to brown or black. The whole principle 
 of photography is based upon the action of light upon 
 certain well known sensitive mediums. These mediums 
 are known as salts, the most sensitive of which is brom- 
 ide of silver and hence it is used in making photo- 
 graphic plates and certain forms of printing paper. Or- 
 dinary printing papers, however, are made not from 
 bromide but from chloride of silver. Chlorine is a gas 
 and it he; s a great affinity for metals and salts of various 
 kinds and when united with silver forms chloride of sil- 
 ver or when united with sodium it forms chloride of 
 sodium or common table salt. If you have a knowledge 
 of chemistry you are aware that there are many other 
 
 81 
 
22 MODERN PHOTOGRAPHY 
 
 sensitive salts and chemicals but the principal ones which 
 the photographer has to deal with are chloride and brom- 
 ide of silver. 
 
 If you expose either bromide or chloride of silver to 
 the action of white light, it will turn black in a very 
 short time. A plate is made by coating the piece of glass 
 with a thin film of gelatin, in which the bromide of silver 
 is carried. Bromide of silver is preferred for plates be- 
 cause of its extremely rapid action when exposed to light. 
 The paper on which the picture is printed is like the 
 plate, sensitive but not to such a degree, for it is coated 
 with collodion, gelatin or albumen, in which chloride of 
 silver is carried. Bromide paper differs from the 
 ordinary printing papers in rapidity of action, because 
 it is coated the same as a plate with bromide of 
 silver. 
 
 Now, we know that our plate is covered with a solu- 
 tion carrying in it bromide of silver and that when ex- 
 posed for even the fraction of a second, by the opening 
 of the shutter in the camera, it is sufficient to produce an 
 effect upon the sensitive film on the plate and an image 
 is formed. If we take the plate from the plate holder 
 and examine it, we will see no change in it whatever, 
 as it requires a development in order to produce the 
 image formed thereon. Now, the image on the plate 
 is formed more or less distinctly, according to the 
 length of the exposure and the quality of the light. 
 If the day be a clear on*^ and the light strong, it is 
 
IN THEORY AND PRACTICE. 23 
 
 said to be actinic^ that is, the light possesses those rays 
 of the spectrum which are most powerful in producing 
 chemical changes. To the novice light is light and all 
 sunlight is white but to the scientist light is made up of 
 several colors, red, yellow, orange, green, blue; indigo 
 and violet. Now these various colors act very differently 
 on the salts of silver and so it is that the light does not 
 always act the same, either on the plate or printing pa- 
 per and is one day rapid and another day slow. Blue, 
 indigo and violet rays work the most rapidly, green rays 
 slower and the red, yellow and orange rays are the slow- 
 est to affect the salts. 
 
 In relation to light there are two other points to be 
 considered, i. e., the time of day and the season of the 
 year. Other things being equal, the light is the strong- 
 est in the middle of the day and hence at that time a 
 shorter exposure is required than at any other but much 
 depends on the season of the year and very much de- 
 pends on the country we are living in. The quality of 
 the light in April, May, June, July, August and Septem- 
 berj is much better than that of the other six months of 
 the year and that of a dry climate much quicker than that 
 of a moist one. As a rule, the light in the country is much 
 more actinic than that of large cities, probably owing to 
 the fact that there is less smoke in the atmosphere. For 
 the same reason the light is much more actinic after 
 a heavy rainstorm than before it, as the atmosphere 
 has been cleared of floating particles of dust and soot by 
 
24 MODERN PHOTOGRAPHY 
 
 the rain. It must be borne in mind that surroundings 
 have a very material effect upon light and cause it to be 
 more or less actinic. A view taken over a body of 
 water, as a lake or the ocean, will not require more than 
 half the length of exposure that would be required for a 
 view taken at the same time of an ordinary open land- 
 scape, i. e., one without trees in the foreground. This 
 is caused by the reflected light from the water, so that 
 we see that reflection, as well as light, is a factor in pho- 
 tography. The same is true of snow and the amount of 
 snow on the ground, trees and surro'^ndings, materially 
 affect the length of the exposure. 
 
 Now, we have learned two things, first that red, yel- 
 low and orange rays act less quickly than blue, indigo, 
 violet and green ones and that reflection is a prime 
 factor in lighting. Therefore, a little reasoning will tell 
 us that a landscape, in which the prevailing colors are 
 green, from grass and trees and blue and indigo from 
 sky, will necessarily require a shorter exposure than 
 would be necessary if we were taking a photograph of 
 a number of red, yellow and orange-colored flowers. If 
 we look directly at a red brick house, a great proportion 
 of the rays coming towards us are red and if we look at 
 a green tree a large proportion of the rays are green. 
 In just the same way the colors of the various objects 
 photographed are reflected back through the lens and 
 on to our plate and our exposure should be varied ac- 
 cording as the subject being photographed predominates 
 
IN THEORY AND PRACTICE. 2$ 
 
 in color. Now, if we undertake to photograph a bouquet 
 in which there are red, yellow, orange, blue, indigo and 
 violet-colored flowers and green leaves, what will be the 
 result and how shall we time our exposure? Here we 
 have all the spectrum colors and many shades of these 
 colors. We have the colors to which the silver salt is 
 most sensitive and we also have those which have the 
 least effect on this salt. If we give the proper exposure 
 for the red and orange colors, then we will have exposed 
 our plate too long for the blues and indigoes and thus we 
 will have what is known technically as an " over expos- 
 ure." On the other hand, if we expose just long enough 
 for the blues and indigoes, then the red and orange will 
 be under exposed. There are several remedies but they 
 are all based on one general principle, that of correcting 
 the color value by reducing them all to a common, or 
 uniform value. Special plates are made by which the 
 various colors are reproduced in monochrome in their 
 correct values. These plates are known under the names 
 of the various manufacturers, as " Isochromatic," " Or- 
 thochromatic," " Erythro," etc The " ray filter," or 
 " color screen," is another method of correcting color 
 values. The ray filter is usually a cell composed of two 
 pieces of glass set into a piece of glass tubing and in this 
 cell is confined a liquid carrying picrate of ammonium, 
 bichromate of potash, or some other chemical which 
 tends to correct the color values. The ordinary color 
 screen consists of an orange-yellow glass, confined in a 
 
26 MODERN PHOTOGRAPHY 
 
 suitable frame and through which the hght passes before 
 reaching the plate. As a rule, the Isochromatic and 
 Orthochroniatic plates are a trifle slower in their action 
 than ordinary plates and where a color screen or ray 
 fiher is used with ordinary plates the time of exposure 
 must be lengthened materially. The use of these plates 
 and screens is described in Chapter XIV. 
 
 Manufacturers of plates usually number them accord- 
 ing to their sensitiveness, although the number on a plate 
 box is not always a guide to the quickness or slowness 
 of the contents. A slow plate is usually numbered from 
 20 to 40, a medium from 45 to 50, and yet the Seed 27 
 plate is supposed to be as fast a plate as is made. This 
 number is supposed to represent the sensitometer value 
 but unfortunately makers of plates do not use the same 
 sensitometer. As a general rule it will be advisable for 
 the novice to start with a slow plate for landscape 
 work. Of course, in photographing moving objects it 
 is necessary to use a quick plate and a short expos- 
 ure However, you must be your own judge and ex- 
 perience will teach you when to use a slow and when 
 to use a quick plate. There are many good plates on 
 the market and it matters but little which you may 
 select, but above all things do not constantly change 
 makes and grades of plates. Select a medium plate, 
 say a Seed 26 and stick to it, at least for the tirsi 
 six months or until you know exactly what you can do 
 and what you cannot do with it. Then it is time enough 
 
IN THEORY AND PRACTICE. 2*J 
 
 to try a slower or faster plate. Do not be in a hurry to 
 change because some friend tells you of a " better 
 plate." The following is a partial list of the welL 
 known plates on the market: 
 
 Seed Plates. These are made in sensitometer 23, 
 26, 26k, 27 and Non Halation. 
 
 Cramer Plates. These are known by name as the 
 " Banner," " Crown," " Isochromatic," slow, medium 
 and instantaneous, " Non-Halation," and " Contrast." 
 
 Stanley Plates. These are made in sensitometers 
 35 and 50. 
 
 Carbutt Plates. These plates are made in sensito- 
 meter 16, 23 and 27, in ordinary plates. The "Eclipse," 
 in 27; "Medium Orthochromatic " in 23; "Junior" in 
 27; a slow plate, " B 16" and a "Non-Halation." 
 
 Hammer Plates. These are known as " Slow," 
 "Fast," "Extra Fast," and "Aurora" or Non -Hala- 
 tion. 
 
 Now that we understand something of the action of 
 light, of the various colors which go to make it up, of 
 the construction of a plate and its sensitiveness to certain 
 colors, we will proceed to load our plate holders and take 
 a practical lesson in the field. 
 
 We have learned that our plate is sensitive to white 
 light and that therefore we cannot handle it in either 
 daylight or artificial light. We have also learned that 
 it is less sensitive to red than any other color and for 
 
28 
 
 MODERN PHOTOGRAPHy 
 
 this reason this color has been selected for the glass of 
 dark room lamps. These lamps can now be purchased 
 from the simplest and cheapest for use with a candle, to 
 the finest grades using oil and electric light. The prices 
 vary from forty cents up to three or four dollars, depend- 
 ing on their quality and finish. 
 Fig. 8 illustrates a cheap type of 
 lamp which will answer very well 
 for the novice. This lamp will be 
 found very convenient when travel- 
 ing as it folds up into a very small 
 space. The top and bottom can 
 be removed and the sides fold in. 
 A ruby -colored fabric takes the 
 place of the ruby glass. We will 
 not undertake to fit up a dark 
 room until you fully understand 
 the requirements and will there- 
 fore choose a small room, with say 
 one window, which we can make absolutely light-tight 
 by drawing down the blind and tacking over it a heavy 
 shawl or some opaque oilcloth or other fabric. Now 
 select a small table and chair and place your ruby lamp 
 to the left-hand side of the table and your box of plates 
 to the right. Close the door of your room and see 
 that no light leaks in at the top or bottom and if it 
 does shut it out by means of some opaque fabric. 
 Light the candle in your lamp and close it. When 
 
 Fig. 8. 
 
IN THEORY AND PRACTICE. 29 
 
 all light is shut out from the room, you are ready to pro- 
 ceed with the loading of your plate holder. Turn over 
 your box of plates and you will see, by means of the 
 ruby lamp, that a strip of paper has been pasted over 
 the joint to exclude all light. Carefully insert your 
 knife in the joint and cut the paper around the four 
 sides of the box, when the cover can be easily removed. 
 You will find another box inside the first one and this 
 being opened, will reveal the plates to you. The differ- 
 ent manufacturers pack their plates in different ways. 
 Some plates are done up in black paper, six plates in a 
 package and two packages in a box, while others put 
 the twelve plates together and the box is provided with 
 flaps of black paper which fold down from all four sides 
 over the plates. We notice that the upper plate is 
 placed with the film side dov/n and the next one v.'ith the 
 film side up. All plates are packed with their film sides 
 next to each other. The film side is the dull side of the 
 plate. Take a plate from the box and bring it close up 
 to the lamp. One side appears to be plain glass which 
 reflects the light readily, while the other appears to be 
 covered with a pinkish wax and is dull in appearance. 
 The dull side is the film side and the film is not really 
 red or pink as it appears but is a creamy white and ap- 
 pears pink on account of the red light from your lamp. 
 Hold this plate in your left hand and scratch the film 
 side, near the edge, with the nail of the first finger of 
 your right hand. Now reverse the plate and scratch 
 
30 MODERN PHOTOGRAPHY. 
 
 the Other side and you will see a marked difference. 
 Close the eyes and take another plate from the box and 
 by means of your finger nail try and see if you can tell 
 the film from the glass side of your plate. Prac- 
 tice this several times so that you can feel quite sure 
 that you could distinguish the film side without the aid 
 of the ruby lamp. It is quite important that you be able 
 to do chis, as it may be necessary to load your plate hold- 
 ers in the dark some time. The plates are divided 
 into sets of two, film sides together and each set is sepa- 
 rated from the next by means of frames made of card- 
 board or by strips on the end, depending on the manu- 
 facturers. 
 
 Now let us examine our plate holders. The plate 
 holder is a shallow box having a slide on each side and 
 divided down the middle by a partition of black card- 
 board so that we can draw the slide from one side with- 
 out exposing the plate on the other side to the light. 
 Plate holders differ slightly, according to the manufact- 
 ure of the camera but in general principle are all alike. 
 In some the slides are made of black rubber, while in 
 others they are made of heavy board resembling leather. 
 In the latter style the board is usually black on one side 
 and light on the other and in some styles the slides are 
 lettered on the black side " Exposed." Those holders 
 with black rubber slides have a draw piece at one end 
 made of wood and on examination you will see that this 
 wooden draw piece is light on one side and is painted 
 
IN THEORY AND PRACTICE. $1 
 
 black on the other. In other varities the rubber is let- 
 tered " Exposed " on one side. The object of thus 
 marking or coloring the slides will appear later. 
 
 We will take it for granted that our outfit consists of 
 a Premo, Sr., 4x5 camera and three plate holders, for 
 glass plates. As we said before, this camera represents 
 a class and is very similar to many others on the market 
 and we select it simply as a type of popular camera. The 
 plate holders furnished with this camera have black rub- 
 ber slides. We withdraw the slide and with a camel's 
 hair brush we proceed to thoroughly dust, not only the 
 holder but the slide. This is very important and should 
 be done every time the holders are loaded. We also 
 thoroughly dust the plate before insertion, not only on 
 the film but on the glass side as well but do not overdo 
 it or you will eloctrify the plate and attract the dust par- 
 ticles in the atmosphere.* The smallest speck of dust 
 which may rest on your plate at the time of exposing it 
 will act as a shield for that portion of the 
 plate and thus cut the light off from it and when 
 you come to develop and fix it, it will leave a small 
 white hole in the plate. Now let us examine the holder 
 and at the bottom we will find a small bar of wood. 
 Press on the bar with your thumb nail and you find it 
 recedes but again springs back into position. To load 
 this holder, take it in the left hand and the plate in the 
 right. Place the lower end of the plate in the groove in 
 the spring bar at the bottom, keeping the film side of 
 
 ♦See pages 107 and to8 in regard to the use of the air bulb instead of a brush. 
 
32 
 
 MODERN PHOTOGRAPHY. 
 
 plate out, as shown in Fig. 9 and by pressing on the 
 spring bar with the thumb the plate will fall into place. 
 Keep the holder tilted back so that the plate will fall 
 
 Fig. 9- 
 
 into the holder. To unload, press with the thumb on 
 the spring bar, as shown in Fig 10, then by tilting for- 
 ward the holder, the plate will fall forward, the edge 
 resting against the fingers. The plate is then held in 
 position by the ends only. When the plate is inserted 
 replace the slide with the light side outward, or, if 
 marked, see that the word " Exposed " is on the inside 
 
A Portrait. 
 
 Alfred Cox, Chicago. 
 
IN THEORY AND PRACTICE. 
 
 33 
 
 next to the plate. Close your eyes and go through the 
 process of dusting your plate holders and plates and in- 
 serting in the holders. In this way you become fami- 
 
 Fig. 10. 
 
 iliar with the operation and when necessary you can 
 change your plates in a dark closet without the aid of a 
 ruby lamp. When you return the slide into the holder 
 you will notice that it has to go into a little slit in the 
 holder. This slit is closed automatically by means of a 
 spring, so that when the plate is in the camera and the 
 slide is withdrawn, no light can leak in upon the plate. In 
 
34 MODERN PHOTOGRAPHY 
 
 returning the slide do not insert one corner first but learn 
 to insert the entire edge of the slide and to rapidly push 
 it in to its proper place. If you insert one corner of the 
 slide you open the slit and allow the light to enter but if 
 you insert the entire edge the spring clamps around both 
 sides of the slide and excludes the light. Of course it 
 makes no difference in the dark room whether you in- 
 sert the the corner or the entire edge of the 
 slide but it does make a great difference when you 
 are in the daylight and if you acquire a bad habit in the 
 dark room you are very liable to do the same thing in 
 ihe daylight and thereby ruin an exposure. The light 
 creeping in at this small opening spreads over 
 the plate and blackens it gradually from the open- 
 ing inward. This blackening is technically known as 
 - fog." 
 
 Now it is well to number your plate holders from i to 
 6. i. e., two numbers to each holder, one on each side. 
 You can do this with pencil or pen and ink but it will 
 look neater to use a printed number, which may be 
 gummed to the wood side of the holder just above the 
 rubber slide. In this way you can keep track of your 
 plates, as 3'ou expose them and make corresponding en- 
 tries in your " Exposure Record." You will perhaps 
 see no necessity for an exposure record but it is really a 
 valuable if not an indispensable thing, if you expect to 
 make good pictures and profit by your own experience 
 These books are for sale by dealers generally, or you 
 
IN THEORY AND PRACTICE. 
 
 i5 
 
 PLATE. 
 
 •Pt, ! ^ii^ 
 
 EXPOSED. 
 
 When I Stop I Tjme 
 
 /0:3o\ f I Tc. 
 
 Mo. I Day, 
 
 No. 
 
 No. 
 
 Subjec 
 
 "^ao^ S-^^mJ.^ 'MuUiTf t>^S^-S^n 
 
 6l ^^imJ^iAHZtTt^^iJit-^^^ ^^f'M'K^^- 
 
 PLATE. 
 
 EXPOSED. 
 
 DATE. 
 
 Holder 
 
 General 
 
 No. 1 M^ker. 
 
 When 1 Stop 1 Time 
 
 ir.M 8 \ -^ 
 
 Mo. 1 Day. 
 
 No. 
 
 No. 
 
 ^Vova^ (dC£^t<^ rAjJrtryiA. ^a^<. c/?A^urui, 
 
 - <l\(^u/u j :^r-^c!f frr 'O 7;a^g^ (f^^&^<a^ ^ u-i,*^ 
 
 jir^(Mu/u£. 
 
 J^r-^'^ frr 
 
 No. 
 
 I Maker. 
 
 EXPOSED. 
 
 DATE. 
 
 When I Stop 
 
 Time Mo. 
 TTTo \Ciuli 
 
 Day. 
 
 Holder. General 
 
 No. No. , 
 
 RemarU*-. , —/-• 
 
 PLATE. 
 
 EXPOSED. 
 
 DATE. Holder. 
 
 General 
 
 No. 1 Maker. 
 
 When 1 Stop 1 Time 
 Z:oo \ 10, 1 Is^^ 
 
 Mo. 1 Day. No 
 
 /■l? 
 
 Subie 
 
 fTOOcf Ut-leAXl 
 
 Roma 
 
 '^^^CP^/fe^ 
 
 PLATE. 
 
 EXPOSED. 
 
 DATE. 
 
 Holder. 
 
 General 
 
 3^. \m^\- 
 
 When 1 Stop 1 Time 
 /ff-oo\jtsL\ V7»»»: 
 
 Mo. 1 Day. 
 
 No. 
 / 
 
 No.^ 
 
 S"^Wt-^ , - 
 
 . / , 
 
 ^^_ 
 
 
 
 Kj^sA*^ctujd^tjr^ (H 0%J. pek,C4AtiZ'o 
 
 "^"^fttiiCA/Vf, a Jac^ iQ^vitTU^'i, yyu^. J^fMeZ^ 
 
 Fig. 11. 
 
36 MODERN PHOTOGRAPHY 
 
 can purchase a small memorandum book and rule and 
 letter it yourself as shown in Fig. ii. 
 
 Five entries of this size could be made on each page 
 of such a book and these entries will be found of great 
 value when you come to develop your plate and for gen- 
 eral reference at any time when you are about to take 
 pictures under similar existing conditions. It will be noted 
 that in the first column we have written 26 Seed. This 
 shows the number and maker of plate. The next col- 
 umn shows that it was taken at 10:30 a. m., with dia- 
 phragm or stop 8 and the time of exposure was ^^^ of a 
 second. The data further tell you that it was the 9th 
 of August and plate holder was No. 3. The subject 
 was a yacht just entering the harbor and it was conse- 
 quently a sea and sky picture which, according to our 
 lesson on light, we know to require but a very short ex- 
 posure. The remarks tell us that although the expos- 
 ure was a very short one, the picture would have been 
 improved if we had given it but half the time or j^^ of a 
 second. All of these entries were made in the expos- 
 ure record after the plate was exposed except the " 26 
 Seed" and the "3" under holder number. These 
 entries should be made as soon as the plates have been 
 placed in the holders and then we will know just 
 what our holders are loaded with in case they shou)d 
 be set aside for a few days or a week before using. 
 
CHAPTER IV. 
 
 Let us now take a photograph together, in order that 
 we may better understand our camera, its attachments, 
 our plates and the value of our records. For conven- 
 ience sake we will follow the 
 entry in our " Exposure Rec- 
 ord." We have loaded our 
 plate holders with No. 26 Seed 
 plates and we are going to take 
 a picture of a yacht which is 
 just about to enter the harbor 
 on a bright day, at 10:30 in 
 the morning. Our three plate 
 holders, holding six plates, are 
 all in the back of the camera 
 box. Fig. 12 illustrates a tri- 
 pod, a frame consisting of 
 three movable wooden legs 
 held together at the top by a 
 cap-piece which is technically 
 known as the "head." There 
 are many different styles of tripods on the market and 
 it makes but little difference which we select so long as 
 we secure one which is convenient, light and strong. It 
 is important, however, that it be rigid and not easily 
 
 97 
 
 Fig 12. 
 
38 
 
 MODERN PHOTOGRAPHY 
 
 made to tremble in case of a strong wind, for with a 
 time exposure we cannot tolerate the slightest tremble 
 on the part of the tripod or our picture will be ruined. 
 
 The tripod shown in Fig. 
 12 is a two-piece tripod, 
 the lower legs being made 
 to slide or telescope into 
 the upper, so as to occupy 
 but little space when not 
 in use. Other varieties 
 are made in three pieces 
 and occupy less space still. 
 In the head will be found 
 a brass screw with milled 
 head. This screw goes 
 into the bottom of the 
 camera box and the in- 
 strument is then held 
 rigidly in place as shown 
 in Fig. 13. 
 
 There is a right and a 
 wrong way to use a tri- 
 pod. Always see that 
 one of the legs is directly 
 in front and this will place a leg on each side of the 
 camera. If this leg was at the back you would be con- 
 stantly tripping over it while focusing. Again, the leg 
 in front acts as a swivel on which to turn the entire 
 
 Fig. r3. 
 
IN THEORY AND PRACTICE. 39 
 
 outfit, and by moving the front leg you can raise and 
 lower the camera without touching the other two. Our 
 lens is pointing toward the west while the sun is in the 
 south, so there is no danger in this quarter. We must 
 always aim to have the sun anywhere but in front of the 
 camera, but it must be borne in mind that shade is as 
 important as light and that it takes both to make a pict- 
 ure, therefore it is not advisable to have the sun directly 
 back of us, for although there will be no danger of it 
 entering the lens when in this quarter, yet the shadows 
 will be away from us and will not show in the picture 
 but we will get a rather glaring picture devoid of 
 interest. If we were to expose a plate while the camera 
 was pointing towards the sun we should certainly ruin 
 the plate, because the direct rays of the sun would 
 enter through the lens and strike the plate. 
 
 We now let down the front of the camera box, draw 
 out the bellows and drop down the bulb as shown in the 
 illustration. We will now open the door which we see 
 on the side of the camera box and take out the three 
 plate holders and put them in our pockets or in our 
 carrying case, if we have one. , We allow the ground 
 glass in the rear of the box to snap up close to the bel- 
 lows by pushing the little brass button which we see on 
 the side. We now open the little door in the rear of 
 the box so we can see the ground glass. We turn the 
 little dial just above the lens until the hand points to T 
 and then press the bulb. This opens the shutter as 
 
40 MODERN PHOTOGRAPHY 
 
 previously described. We now place the little hand just 
 under the lense until it points to 8, which opens the dia- 
 phragm to an 8 stop. If we now look at the instrument 
 from the front it will appear as shown at Fig. 4, except 
 that the index at the top points to T and the diaphragm 
 points to 8. 
 
 We now spread our focusing cloth, usually made of 
 rubber cloth, over the back of the box, and insert our 
 head under it in order to see what the ground glass 
 shows. With our head still under the focusing cloth we 
 reach the right hand around in front of the camera and 
 move the brass lever, previously described, which binds 
 the bellows in position. We now move the bellows 
 backward and forward until we get a good sharp image 
 on the ground glass. 
 
 The water appears to be running up hill, and the 
 yacht, water and all, appear to be upside down. The 
 latter is just what you should expect, as all images on 
 the ground glass are reversed, or upside down, but the 
 former is caused by the camera being out of level. 
 Proceed to level up your camera by drawing in one leg 
 or letting out the other until the instrument stands per- 
 fectly level, then you will find that the water is no 
 longer running up hill. 
 
 The yacht is moving towards us, however, and it is 
 impossible to keep it in focus for any length of time, and 
 finally we have to select one which is farther away and 
 try again. We get all ready this time without the aid 
 
B&' 
 
 '^oSCacr. 
 
IN THEORY AND PRACTICE. 4I 
 
 of the ground glass. We press the bulb to close the 
 shutter, and place the index above the lens at -^-^, leaving 
 the diaphragm at 8. We insert a plate holder in the 
 back of the camera, between the ground glass and end 
 of the bellows. We pull the lever A, Fig. 4, over tc 
 the left until it reaches the point F, when a click is 
 heard and we know the shutter is set. We now draw 
 the slide of plate holder, which is number 3, and draw 
 the bellows out until the 'pointer on the scale at the side 
 points to 100. Our yacht is still some 300 feet away, 
 and we watch it in the view finder, keeping it in the 
 center as nearly as possible. When it has reached a 
 point about 225 feet away we press the bulb and it is 
 done. We now carefully insert the slide in the holder, 
 being sure not to allow the light to leak in, by throwing 
 the focusing cloth over camera and inserting the slide as 
 directed and as practiced in the dark room. 
 
 The view we have taken is what is technically known 
 as a " snap shot." It was a rapid exposure at a moving 
 object. It was impossible to focus it on the ground 
 glass because it was constantly coming closer to us, and 
 it was equally impossible to expose the plate for any 
 length of time for the same reason. 
 
 Before developing the plate we will take another pict- 
 ure, this one an entirely different view, with different 
 surroundings. We will go up the south bank of the 
 river so as to have the sun at our back. On the north 
 bank is a dense grove of trees; the sun is shining 
 
42 MODERN PHOTOGRAPHY 
 
 brightly, and the foreground is well lighted. Away 
 back among the trees it is very dark, and this view is 
 going to test our lens for depth of detail and rapidity. 
 We set our camera up again and proceed to focus on the 
 ground glass. This we can do very well, although the 
 wind is beginning to blow strongly, for we can focus on 
 the tree trunks, which are stationary. We leave the 
 diaphragm at 8 stop, and proceed to move the front of 
 the bellows backward and forward until we get a clear, 
 sharp image on the ground glass. We now bind the 
 bellows in this position by means of the lever in front, 
 and put our plate holder in position again, with plate 4 
 towards the bellows. We close the shutter, adjust the 
 shutter mechanism, and study the scene before us for a 
 few minutes. It is a dark subject for a " snap shot," 
 and yet the water in the foreground and the leaves on 
 the trees are in motion, and if we give it a time exposure 
 this motion will certainly blur our picture and spoil it. 
 We therefore conclude to try a compromise and give the 
 view a -^^ second exposure. This exposure will be short 
 enough not to show the motion of the leaves and will be 
 perhaps long enough to bring out the details of the trees 
 in the foreground, at least. There are no cut and 
 dried rules in photography for exposure. Everything 
 depends on the nature of the view and the kind of light. 
 There is but one good rule in regard to exposure, and 
 that is an old one; it is " expose for the shadows and 
 let the lights take care of themselves," and yet in this 
 
IN THEORY AND PRACTICB. 43 
 
 instance it is not practical, tor if we expose for the shad- 
 ows our foreground will show motion perceptibly. 
 " Then all exposures are simply guess-work," you will 
 say. Yes, all are guess-work in a certain sense but 
 guess-work based on experience. This experience you 
 will gain as you go along and if you keep a record book 
 you can refer back to similar subjects and conditions and 
 note your successes or failures. Now how do you know 
 that you have not made both exposures on the same plate 
 and ruined both? Because, first, you have replaced our 
 plate holder slide with the dark side out, which tells you 
 that this plate has already been exposed and second, be- 
 cause you keep a record and your record book shows 
 that the plate in holder 3 was exposed on the yacht 
 scene and the plate in holder 4 was exposed on the wood 
 scene. Always fill out the entry in your record book as 
 soon as the exposure is made. Never put it off and rely 
 OD your memory to fill it in at another time. 
 
CHAPTER V. 
 
 We have now made two exposures, or taken two 
 pictures, one of a yacht and the other a wood scene with 
 water for a foreground. It will not do to keep on reck- 
 lessly exposing plates without knowing what we are 
 doing, so we think it advisable to develop these two 
 before going further. 
 
 Up to the present time we have no dark room, and 
 we do not think it advisable to build one until we know 
 better what is required, and so we will develop these two 
 plates in the same room in which we loaded our plate 
 holders, taking the same precautions about shutting out 
 all light. Of the various developers and their action we 
 will speak later, but in this instance we will use the 
 developer recommended by the Seed Dry Plate Com- 
 pany, who made the plate which we are about to 
 develop. The second plate was made by the Stanley 
 Dry Plate Company, and it would hardly be advisable 
 to mix up two different developers to develop only two 
 plates, because the same developer will answer for both 
 plates. As a rule, however, it will be found advisable 
 to use the developer recommended by the plate makers. 
 They know the chemical constituents of their plates and 
 are better able to judge which is the best developer for 
 their own plates 
 
In theory and practice. 
 
 45 
 
 We shall need the following trays and adjuncts, and 
 they will all be transferred to our dark room when 
 we build it: Two 45^x55^ developing trays; one 7x9 
 rinsing tray; one fixing bath; one combined washing 
 
 and drying rack; one 
 2-inch camel's hair 
 brush; one minim 
 graduate glass; one 
 four-ounce glass 
 graduate and bottles 
 ^^^' '^' for your stock solu- 
 
 tions of developer and other chemicals. You will also 
 require a pair of scales, a glass funnel, two glass rods, 
 and some filter paper. 
 
 Fig. 14 illustrates a developing tray, 
 made of hard rubber, fibre, cellu- 
 loid, papier mache and tin. We 
 should advise the selection of hard 
 rubber or compressed fibre trays 
 for developing, while a papier mache 
 or tin tray will do very well at the 
 start for rinsing purposes. For 
 the present the fixing might be 
 done in a tray or shallow dish, but 
 as you will want a regular fixing 
 box sooner or later you might just 
 as well purchase it at the start. A very good form of 
 box is shown in Fig. 15, as in using it your fingers 
 
 These tra3^s are 
 
46 
 
 MODERN PHOTOGRAPHY 
 
 Fig. lb. 
 
 need not come in contact with the solution, either in 
 putting the plates in or taking them out of the bath.. A 
 false bottom is connected to a central rod and the plates 
 can be lifted out clear of the solution. In selecting trays, 
 never get one with a plain or 
 smooth bottom, but select the 
 variety which has grooves or 
 projections on the bottom. The 
 plate adheres to the bottom of 
 a smooth tray and is often very hard to lift out. The 
 grooves or projections on the bottom allow you to place 
 your finger or the lifter under the plate. Fig. i6 illus- 
 trates a lifter, which is 
 made of hard rubber and 
 which will be found very 
 useful for lifting plates 
 out of the trays. They 
 are quite inexpensive and 
 every photographer can 
 afford to have two or 
 three of them, so they will 
 be handy when wanted. 
 Fig. 17 illustrates a 
 combined washing and 
 drying rack. The plates are first washed in this rack 
 and then taken from the water and laid aside to dry. 
 The tray at the bottom being water tight, catches the 
 drippings from the drying plates, which is a very desir- 
 
 Fis- n. 
 
IN THEORY AND PRACTICE. 
 
 47 
 
 Fig. IS. 
 
 able feature. When the plates are dried and removed, 
 the sides can be folded down into the tray and it occupies 
 but little space. Fig. i8 illustrates a four ounce glass, 
 graduate, which you will need when 
 measuring the larger quantities of 
 liquids, while the minim or smallei 
 graduate is used for measuring the 
 smaller quantity. In selecting a 
 funnel be sure and buy one of glass, 
 of the fluted variety, as shown in 
 Fig. 19. A glass funnel can be 
 kept perfectly clean and the fluted 
 variety works much more rapidly 
 than the ordinary funnels when filt- 
 ering, as the fluted portions allow the air to circulate 
 between the funnel and the filter paper. 
 
 Having now secured the requisite chemicals for devel- 
 oper and fixing bath, as given by the plate maker, we 
 are read}'^ for development. Our developing solution is 
 ready in our four ounce graduate, water in 
 the rinsing tray and hypo in our fixing bath. 
 We shall also require a pail full of clean water 
 and a towel on which to dry our hands. All 
 being in readiness we shall proceed with our 
 development. We draw the rubber slide from 
 our plate holder and remove the plate as heretofore des- 
 cribed. With the camel's hair brush we remove any 
 particles of dust that possibly may have rested on the 
 
 Fig. iq. 
 
48 
 
 MODERN PHOTOGRAPHY 
 
 plate since it was taken. We now place the plate in 
 one of the 4^x5)^ trays with the film or sensitive 
 side up and pour the developer over it, gently rocking 
 the tray in the meantime to insure that the solution 
 covers the plate entirely. Keep your tray constantly 
 rocking and look out for air bubbles on the plate, par- 
 ticularly in warm weather. Should there be any, break 
 them by means of the finger tips or a camel's hair brush. 
 If you allow them to remain they will prevent the 
 developer reaching that portion of the plate and a flaw 
 will be the result. 
 
 When the plate was placed in the tray there was no 
 trace of an image upon it, but very soon, if it is a prop- 
 erly timed negative, you will observe that the negative 
 darkens in spots. Do not bring the tray too close to the 
 light, especially during the early stages of development. 
 Our negative consists almost entirely of sky and water 
 and it should come up very evenly all over. If it were a 
 landscape the sky would darken first. In other words, 
 the light portions of the picture darken first and then the 
 half-tones and finally the dark portions or shadows are 
 darkened. 
 
 The Seed Dry Plate Co., recommend the following 
 Pyro developer : 
 
 No. I. 
 Distilled or good well water. .. i6 ozs. 
 Sulphite of soda (Crystals).. 4 ozs. 
 
 Fyrogallic acid i oz. 
 
 Sulphuric acid lodrops. 
 
 No. 2. 
 
 Water 16 ozs. 
 
 Sal soda (crystals) 4 ozs 
 
IN THEORY AND PRACTICE. 49 
 
 To develop with this solution take one ounce of No. i 
 and one ounce of No. 2, and add to it eight ounces of 
 water. Use less water in cold weather. Now the con- 
 stituents of the developer are pyrogallic acid, commonly 
 known as Pyro, which is the developmg agent proper, 
 sulphite of soda, which is a preservative and is used to 
 keep the solution clear and bright, and sal soda, which 
 is an accelerator, or agent which makes the developer 
 act quickly. Make a solution of one ounce of bromide 
 of potassium in ten ounces of water and keep it in a 
 separate bottle, and when it is found that the developer 
 is working too rapidly, owing to the plate being over- 
 exposed, a few drops of this solution is added, which 
 holds back development and is known as a restrainer. 
 This is known as a ten per cent solution of bromide. 
 We now know the constituents of our developer and how 
 the various chemicals act, and we can govern ourselves 
 accordingly. 
 
 We have now reached a critical stage in our develop^ 
 ment. How long, or how far shall we carry our devel- 
 opment? On this depends entirely the success of our 
 picture. If we develop too rapidly the half-tones are 
 lost and if we carry the development too long we will 
 get a flat, muddy negative which has no contrasts. Var- 
 ious methods are pursued by photographers, both ama- 
 teur and professional. Our method is to keep the plate 
 in the solution until the image has shown fairly strong 
 all over. Now remove the plate from the solution, by 
 
50 MODERN PHOTOGRAPHY 
 
 means of the lifter shown in Fig. i6, and holding it by 
 the edge, bring it close up to the light and look through 
 it in order to see how far the development has progressed 
 in the shadows and half-tones. Keep your fingers off 
 the film and hold the plate by its edges by pressing 
 against the glass on both sides. If a 4 x 5 plate you can 
 readily hold it in one hand by placing the thumb on one 
 side and the forefinger on the other. Bear in mind that 
 all portions of the negative which have received the 
 black deposit will print white or light in tone, while those 
 portions of the plate which remain white will in reality 
 print black, because the light passes through the clear 
 glass of the negative and prints the paper dark. Now 
 turn the plate over or look at the other side, not through 
 the plate, but by holding it in a horizontal position, and 
 see if the image is beginning to show through the plate. 
 If it is, the development is nearing completion. Return 
 the plate to the solution and continue rocking, examin- 
 ing it from time to time. In a properly timed negative 
 the image should begin to appear on the film side in 
 from 15 to 30 seconds. There is a scientific method of 
 determining when the development has reached the 
 finished stage, but this method we will discuss later. 
 
 We continue the rocking of the plate until, in the sub- 
 dued light of the dark room the entire plate has black- 
 ened over. Examine it again by transmitted light and 
 you will see the outline very faintly. Look at the back 
 of the plate and you will see the outlines of highlights 
 
IN THEORY AND PRACTICE. 5I 
 
 and the principal half-tones. Holding the film sidt 
 towards us and the glass side well up to the ruby glass, 
 we place our finger on the glass back of the sky and 
 find the deposit is so dense we can scarcely see the 
 shadow of our finger. 
 
 We now rinse the plate thoroughly in the rinsing tray, 
 in order to remove the developer and small portions of 
 the film which have separated from the plate. This 
 rinsing prevents the contamination of the fixing bath. 
 Our fixing bath, which has previously been prepared, is 
 also in accordance with the Seed formula, which comes 
 with every box of plates. Our plate, after washing, is 
 inserted in the fixing box, shown in Fig. 15. The ama- 
 teur at this stage usually makes two mistakes, he does 
 not fix his plates thoroughly and more often does not 
 wash them sufficiently to remove the hypo. The 
 plate should be allowed to remain in the fixing bath fully 
 ten minutes after every trace of the white film has been 
 removed and must only be examined by white light when 
 this stage has arrived. 
 
 When properly fixed the plate is inserted in the com- 
 bined washing and drying rack shown in Fig. 17, and 
 the rack placed in the pail of water. The pail may now 
 be taken out of the room and placed in a sink and the 
 water allowed to run into the pail for at least one hour, 
 in a gentle stream about the size of an ordinary lead 
 pencil. Do not allow the stream to strike the plate, but 
 have it go down one side of the pail. It is very essential 
 
52 MODERN PHOTOGRAPHY 
 
 to thoroughly wash your plates to remove the hypo or 
 they will soon turn yellow and become covered with the 
 hypo salts which will eat away the film. When suffi- 
 ciently washed remove the rack from the pail, emptying 
 out the water in the tray under the plate and put it away 
 to dry in a place free from dust. Do not attempt to dry 
 the plate in the sun or by artificial heat. 
 
 While the first plate is being fixed in the hypo bath, 
 we proceed with the development of the second plate, 
 which we proceed with on the same lines as the first. 
 
CHAPTni^ VI. 
 
 The dark room question is a serious one and you 
 should not be in a hurry about building one until you 
 have a pretty thorough understanding of the require- 
 ments of the art. We never knew an amateur whose 
 first dark room suited him perfectly. He generally 
 enlarges it and makes extensive alterations within a year 
 or two after building. Give the question a little serious 
 thought and it may save you considerable time in rear- 
 ranging and rebuilding, to say nothing of the expense 
 involved. The location is the first consideration, and in 
 choosing this, much depends upon whether you occupy 
 your own house or rent one and the style of the house 
 itself. Stables and outbuildings are as a rule not desira- 
 ble for the location of dark rooms because they are gen- 
 erally not heated in the winter, and great care must be 
 exercised to select a location where your liquid chemi- 
 cals will not be liable to freeze and burst the bottles in 
 which they are confined. Again, it is pretty cold work 
 developing and washing plates where there is no heat 
 and the thermometer is ten below zero. 
 
 If your house has a basement, say seven or eight feet 
 in height, with a furnace, this will be the place for your 
 dark room. It will be generally be found quite cool, 
 even in the very warm days of summer and warm enough 
 
 53 
 
54 MODERN PHOTOGRAPHY 
 
 for comfort in the coldest days of winter. If it has no 
 furnace your Hquids are Hable to freeze, but much 
 depends on the construction of the house and its found- 
 ation. If it is safe as regards freezing, then it can be 
 heated to a comfortable degree for working by means of 
 an oil or gas stove prior to the time you wish to do your 
 developing. Next to a basement a small room or good 
 sized closet is desirable. 
 
 If a basement or small room is selected and a window 
 can be used, so much the better, for it is desirable to air 
 the dark room from time to time, particularly if you are 
 a smoker, or if you use oil in your dark room lamp, 
 or both. If a window is used it should be carefully 
 covered with at least two thicknesses of post office 
 paper, ruby fabric (a substitute for ruby glass), or 
 black paper. The casings of the window should be 
 examined carefully after this and all cracks covered by 
 pasting over them heavy red express or black paper. 
 The window should not be relied upon for light even 
 when working in the day time and it would, of course, 
 be out of the question at night. 
 
 When you have selected a location it will be well to 
 take a piece of paper and lay out a ground plan of your 
 proposed dark room before starting to build. Fig. 20 is 
 a ground plan and Fig. 21a sketch of a dark room. It 
 is an actual reproduction of a dark room built by an 
 amateur friend, with some minor changes. This dark 
 room is the best fitted and the handiest we have ever 
 
IN THEORY AND PRACTICE. 
 
 55 
 
 seen, either amateur or professional, and is an excellent 
 one to model after. The floor of the dark room is 
 
 Lam|3 
 
 Wafer 
 
 
 
 
 ^ 
 
 
 o 
 
 
 
 
 
 
 
 5inK 
 
 (Sink 
 
 
 
 
 ^helf om sink not fihown m this 
 
 tj Diapra-rri. 
 
 
 
 o 
 
 
 "^ ST 
 
 -1 
 
 
 4° 
 
 
 ■v> 
 
 C 
 
 
 
 o 
 
 
 •?. 
 
 
 ^ 
 
 >o 
 
 
 ( 6fccf 
 
 
 
 Tabic I 
 
 
 
 
 Two iShelvcs over Hie l^ble 
 
 . VI 
 
 
 Fi^-. 20. 
 
 three inches above the basement floor so that it is 
 dry at all times, as the air circulates freely under it. 
 It IS practically six feet square. The door extends to 
 
56 
 
 MODERN PHOTOGRAPHY 
 
 the basement floor, so there is no necessity of tackinjj 
 felt to the bottom of it to keep out white hght. 
 
 The smk, including the two ends, is about four feet in 
 length. The water pipe and the drain pipe enter the 
 
 Fig. SI. 
 
 sink at the left hand end and at the right is a convenient 
 platform on which to place plates to dry, etc. This sink 
 is about five inches deep and is built of one-inch pine 
 stock. After connecting up the plumbing the sink was 
 given one good coat of white lead, the cracks being first 
 
IN THEORY AND PRACTICE. 57 
 
 filled in with the stiff white lead by means of a putty 
 knife. When this coat was thoroujj^hly dry it was given 
 three coats of asphaltum mixed to the consistency of 
 paint with benzine. The coats of asphaltum were given 
 at intervals of twenty -four hours, so that one coat was 
 .horoughly dry before the next was applied. The slats 
 in the center rest on the top of the sink and are joined 
 together, and they can be readily removed when desired. 
 The developing tray is used on this rack and any devel- 
 oper which is spilled, does not run onto the floor but runs 
 down into the sink. 
 
 It will be noted that this dark room is lighted from 
 the outside, which is really the only good way, if you 
 value your health and desire to keep the dark room 
 cool in summer. There are cases in which it is not 
 possible to so light a dark room, but where possible 
 it is always advisable. In this instance a window six 
 inches square is cut through the partition directly 
 over the center of the sink. A ruby and an orange 
 colored glass are mounted in frames and these frames 
 run in wooden tracks and pass one another so that 
 either or both glasses can be used. The ruby glass 
 runs in the track nearest to the light. The light is 
 an ordinary kerosene lamp placed on a bracket just 
 outside of this window. Gas, of course, could be used 
 as well as a lamp. Immediately under the platform at 
 the right hand side of the sink is a series of six drawers 
 which are convenient for storing away the various 
 
58 MODERN PHOTOGRAPHY 
 
 devises and odds and ends which the pholographer 
 is bound to fall heir to and which accumulate so 
 rapidly. 
 
 ImmediLitely above the sink is a shelf four feet long, 
 on which is kept the bottles holding the developer, and 
 those solutions which are most frequently used, the 
 graduates, funnels, and the bromide solution. Beneath 
 the shelf the dusting brush, scissors, print roller, vig- 
 netter, kits etc can be kept on suitable hooks or nails. 
 To the right is a towel and rack. Next to the bottles 
 on the shelf is a rack built for trays, so they can be 
 placed on their sides to dry. This shelf can also be used 
 for holding plate boxes, etc. The book shown in the 
 illustration, on the shelf, next to the plate rack, is the 
 scrap book, which will be described later on. Beneath 
 the sink is a good place to keep your hypo bath, and 
 this is the very best place to keep it, as you are sure not 
 to get it mixed with the other chemicals. 
 
 By consulting Fig. 20 you will get a good idea of the 
 other side and end of the room. Facing the sink is a 
 wide shelf or table, about two and a half feet from the 
 floor, where you can sit down and dust out your plate 
 holders and load your plates, with your back to the light. 
 Above this table are two shelves for the storage of bot- 
 tles, boxes, etc., and at the end of the room opposite the 
 door are two more shelves one over the other. You 
 will perhaps think there is a superfluous amount of shelf 
 room, ^ut you will find by the time you have had the 
 
IN THEORY AND PRACTICE. 
 
 59 
 
 dark room say two or three years that you will have to 
 clean house every once in a while to make room to 
 move around. 
 
 One very necessary thing, which must not be omitted 
 under any consideration, is a hook for the inside of the 
 dark room door. This will effectually keep out all 
 intruders while you are developing. Ventillation must 
 be secured, and this can be easily effected by boring a 
 series of inch holes at the top of the room over the sink 
 and another series next the floor on the 
 opposite side. Over the series of holes tack 
 some strips of wire screen to keep out rats, 
 spiders, and other vermin. Over the series 
 of holes tack a long strip of tin bent in the 
 from of an inverted L, as shown in Fig. 22. 
 Light refuses to turn a corner, without the 
 aid of prisms or reflection, and if we paint 
 the inside of this tin black we need have no 
 fear of white light entering the room. In 
 Fig. 22, W is the wooden wall of the dark 
 room; H the holes; T the tin strip and S the screws or 
 tacks holding the tin in place. The faucet shown in 
 Fig. 21 is preferable to the ordinary one, as it elevates 
 the stream, and in the case of washing off a plate 
 there is little danger of the film side coming in contact 
 with the faucet. A light rubber hose can be connected 
 with it and the washing box, which is illustrated in 
 ^'&- 23. This box is an excellent one as the water 
 
 W 
 
 Yl 
 
 H 
 
 Fig. 22. 
 
6o 
 
 MODERN PHOTOGRAPHY 
 
 enters from the tube at the top and this tube extends to 
 the bottom of the box, where the water is discharged. 
 The water rises between the plates and is carried off 
 
 at the outlet at the top 
 and to the right hand 
 side. As the box has 
 corrugations on all sides, 
 it is adapted to hold 
 several sizes of plates. 
 Running water is a 
 great convenience, but 
 not an absolute necess- 
 ity in the dark room. 
 If your dark room is 
 situated at consider- 
 able distance from the 
 water supply, or you do 
 not feel that you can 
 afford the expense of 
 putting in the necessary 
 plumbing you can make 
 a good substitute by means of an old water cooler, or by 
 building a box and coating the inside of it thoroughly as 
 advised for the sink. The cooler or box can be located 
 on the end of the sink where the faucet is in Fig. 21. 
 If a cooler is used the rubber tubing can be used the 
 same as on a regular hydrant. If a box is used a faucet 
 of some kind will have to be inserted in the side of the 
 
 I-isr- 23- 
 
IN THEORY AND PRACTICE. 
 
 6l 
 
 box near the bottom. If a box is used, a cover that fits 
 fairly tight, should be made for it, to keep out all dust. 
 A short piece of waste pipe can be used and the waste 
 water caught in a bucket. 
 
 Should it be inconvenient or out of the question to 
 have the light outside of the dark room then a first-class 
 
 Fig. 24. 
 
 Fig. 2S- 
 
 dark room lantern is a necessity. Nothing gives the 
 amateur quite as much trouble as the cheap dark room 
 lanterns on the market. The light often goes out at a 
 critical stage, and the smoke and smell is something 
 dreadful. If you cannot afford to buy a first-class lant- 
 ern, then we should advise you to make one from a soap 
 or starch box rather than invest your money in one 
 which will never give you any satisfaction. Fig. 24 
 
62 
 
 MODERN PHOTOGRAPHY 
 
 illustrates an excellent form of lantern manufactured by 
 John Carbutt. 
 
 In Fig. 24 this lantern is shown with the side door 
 open as used in making bromide prints, while Fig. 25 
 shows the same lantern as used in developing, and also 
 with the slide door open while examining fixed negatives 
 
 by the ground glass. Do not 
 make the mistake of buying a 
 small dark room lantern. You 
 may have little room to spare 
 in your dark room, and the 
 small patterns may look very 
 neat and tempting on the pho- 
 tographic supply counter, but 
 in practice they are an abomin- 
 ation. A lantern which is large 
 enough to give a thorough 
 draft and have plenty of air 
 space for the lamp, is the only 
 one which will not smoke. If 
 your purse will not admit of 
 your purchasing a first-class lantern then, as we said 
 before, you had better make one. Fig. 26 shows a 
 diagram of a home made lantern. This lantern can be 
 made from a small box, say 14 inches high by 8 or 10 
 wide. We believe that the diagram is so explicit that 
 a detailed description will hardly be necessary, but in 
 order that it may be thoroughly understood we have 
 
 Fig. 26. 
 
IN THEORY AND PRACTICE. 63 
 
 lettered the diagram. A, B and C are all made of 
 wood, D is a window glazed with both ruby and orange 
 glass, one back of the other, which makes a very safe 
 light. Each glass is held in a separate groove so that 
 either one or both can be removed at pleasure. C is a 
 hinged cover; E is the button for regulating the flame 
 from the outside of the lamp, and F is a small pipe 
 which should lead outside of the dark room and into a 
 chimney flue if possible, and all heat and smoke are thus 
 carried entirely outside of the dark room. This pipe 
 can be made from a piece of ordinary speaking tube, 
 which can be purchased very cheaply. You can work 
 with a lamp constructed on these lines for hours without 
 fatiguing the eyes, as the light is all thrown downward 
 upon the tray in which you are developing. 
 
 Tray covers are a great convenience in a dark room. 
 They can be easily made from pieces of cigar boxes or 
 other light wood. Their use is to cover the trays in the 
 event that it is necessary to open or regulate the dark 
 room lantern, and are constructed similar to the illustration 
 shown in Fig. 27. These tray covers should be made 
 with projections around the four sides so that no light 
 can creep in upon the plate. A small knob should be 
 fastened to the top for convenience in lifting. Another 
 very necessary adjunct is a cover for your drying rack 
 in order to protect your plates from dust while drying. 
 A frame should be made of some lififht wood which is 
 high enough and wide enough to cover your entire 
 
64 
 
 MODERN PHOTOGRAPHY 
 
 Ftg. 27. 
 
 drying rack, as shown in Fig. 28, and this frame should 
 be covered with cheese cloth. You can then place 
 your plates in the direct draft without fear of them 
 becoming covered with dust while drying. This cover 
 
 can be easily constructed by 
 any ingenious amateur and 
 he will be well repaid for the 
 time expended in its manu- 
 facture. The cheese cloth 
 covering catches all the dirt, lint and small fragments 
 which would otherwise stick to your plates. This plate 
 cover, when not in use, should be kept in a 3quare paper 
 bag so that no dirt can 
 accumulate inside of it. 
 You will notice in Fig. 
 21 that the first three 
 bottles on the shelf are 
 numbered i, 2 and 3. 
 These are the devel- 
 oper bottles and should 
 always be numbered 
 with large figures so 
 that no mistake can 
 possibly happen in the 
 dim light of the dark room. These numbers can be 
 painted on the bottles with asphaltum, or large figures 
 can be cut from a calendar or elsewhere and pasted on. 
 The formula of each bottle should also be written on a 
 
 Ftg. 2S. 
 
IN THEORY AND PRACTICE. 65 
 
 piece of white gummed paper and attached to the bottle 
 below the number. This should be done in the case of 
 all stock solutions, reducers, intensifiers, etc., and will 
 be found very convenient for reference in the future. 
 A solution which is not in constant use often gets laid to 
 one side and the formula and directions for its use are 
 forgotton, but if labeled as suggested, you always know 
 the contents of the bottle, and when necessary a new 
 solution can be made up from the accompanying direc- 
 tions. Ordinary gummed labels soon become detached 
 from the glass bottles, and to prevent this give them a 
 coat of varnish, allowing the varnish to extend over the 
 edge of the label onto the glass of the bottle. As far as 
 practicable always use bottles with ground glass stop- 
 pers, as corks are not reliable with ordinary chemicals. 
 Ground glass stoppers have an aggravating tendency to 
 stick in the mouth of the bottle, but this tendency can 
 be readily overcome by applying a small amount of 
 parafine or vasaline to the stopper. 
 
 In the event that your dark room is located in a base- 
 ment, you will find it wise not to keep your stock of 
 plates and printing papers in it. Negative and lantern 
 slide plates, bromide, silver and gelatine papers deteri- 
 orate very rapidly when kept in damp places. Plate 
 holders being usually of very delicate construction and 
 very liable to warp, should never be left in the dark room 
 for any length of time. Hyposulphite of soda and other 
 chemicals should never be kept in the dark room while 
 
66 MODERN PHOTOGRAPHY 
 
 done up in paper bags or packages. Not only do the 
 chemicals deteriorate when in this shape, but in a base- 
 ment dark room, which has a tendency to be damp 
 hyposulphite of soda will be carried in the atmosphere 
 and deposited in the form of crystals all over the dark 
 room. Keep your chemicals in wide-mouthed bottles 
 with ground glass stoppers. 
 
CHAPTER VII. 
 
 We said there was a scientific method of determin- 
 ing just when to stop development. This method was 
 the result of constant study and experiment on the part 
 of an amateur photographer, Mr. Alfred Watkins, of 
 England, the inventor of the Watkins Exposure Meter. 
 By faithfully following Mr. Watkins' method you need 
 never have an over or under-developed negative. This 
 method is applicable to nearly all developers and should 
 you use a developer which is not in the accompanying 
 table, then you will first have to determine the factor by 
 experiment. The method consists in timing the nega- 
 tive from the moment the developer is flowed upon the 
 plate until the first image appears and multiplying that 
 number of seconds by a known factor and the product 
 will be the length of time for total development. 
 
 The factors which Mr. Watkins has figured out for 
 the various developers are as follows : 
 
 Kind of Developer. 
 
 Pyro Soda, i grain of Pyro to the ounce. . 
 Pyro Soda, 2 grains of Pyro to the ounce. 
 Pyro Soda, 3 grains of Pyro to the ounce. 
 Pyro Soda, 4 grains of Pyro to the ounce. 
 Pyro Soda, 8 grains of Pyro to the ounce, 
 
 67 
 
 Fac- 
 tor. 
 
 II 
 6 
 5X 
 
68 MODERN PHOTOGRAPHY 
 
 Kind of Developer. 
 
 *Carbutt's Pyro Developer 
 
 Hydrochinon, caustic soda or carbonate. 
 
 Eikonogen 
 
 Metol 
 
 Amidol, 2 grains per ounce 
 
 Pyro-Metol 
 
 Rodinal 
 
 Metol- Hydrochinon 
 
 Fac- 
 tor. 
 
 7 
 9 
 
 28 
 
 i8 
 
 9 
 4o 
 
 13 
 
 Let us see how the factor works in practice. Sup- 
 pose we are using Carbutt's Pyro developer and the 
 image appears in 15 seconds. We know the factor is 7 
 so we muhiply 15 by 7. 
 
 15 X 7 = 105 sec. = 1% minutes. 
 This will be the total time required to complete devel- 
 opment on an average plate. If the plate has been a 
 trifle over-exposed then the first image will appear in a 
 shorter time and development will not be so long and 
 if it was a trifle under-exposed then vice versa. The 
 factor remains the same in all instances except where 
 bromide is added, and in this event the factor will have 
 to be varied. If you are using a developer whose 
 factor is given in the above table and the result should 
 give you a negative not entirely satisfactory^ to you, then 
 use a hi<;her or a lower factor until the results are satis- 
 factory, and then note down the factor and work by it. 
 If you do this, your negatives will be very even and will 
 all print in about the same time. Some people like great 
 
 • This (actor was figured out by Mr. Carbutt. 
 
IN THEORY AND PRACTICE. 69 
 
 contrasts or blacks and whites in their negatives, while 
 others prefer a softer negative, and so the factor may be 
 increased or diminished to suit your individual taste. 
 
 There are a great many developers used by both 
 amateur and professional photographers, but the Pyro 
 developer is probably the most popular to-day. The 
 following are the principal developers used at the pres- 
 ent time: 
 
 Seed's Pyro=Soda Developer. 
 
 No. 2. 
 Water 16 oz. 
 
 Sal Soda (Crystals) 4 oz. 
 
 No. I. 
 
 Distilled or good well water 16 oz. 
 
 Sulphite of Soda (Crystals) 4 oz. 
 
 Pyrogallic Acid i oz. 
 
 Sulphuric Acid 10 drops. 
 
 To Develop Take 
 
 No. I I oz. I *\Vater 8 oz. 
 
 No. 2 1 oz. I 
 
 Seed's Pyro Developer by Hydrometer Test. 
 
 No. I. No. 
 
 Of a clear Sulphite of Soda so- Sal Soda Solution, Hydrometer test 
 
 lution to test 60 with hydro- 40. 
 
 meter, take 18 oz. 
 
 Pyrogallic .\cid i oz. 
 
 Sulphuric Acid 10 drops. 
 
 To Develop Take 
 
 No- I loz. I *Wate,r 8 oz 
 
 No. 2 ,ioz. I 
 
 Remarks.— More watergives flatness and less water contrast. Useless water 
 in cold weather. Nos. i and 2 are known as stock solutions. 
 
 Stanley's Pyro-Soda Developer. 
 
 No. I. 
 
 Water 80 oz. 
 
 Sulphuric Acid y^ dram. 
 
 Pyro I oz. Troy. 
 
 NOo3. 
 
 Pure Water 80 oz. fluid. 
 
 Sulphite of Soda (Crystals). 6 oz. Troy 
 Carbonate of Soda (Cryst.).6 oz. Troy. 
 
 *For Double-coated plates use 18 ounces of water. If you use Aristo paper for 
 your prints increase No. 2 to iH ozs. and the water to 10 ozs. 
 
70 
 
 MODERN PHOTOGRAPHY 
 
 To Develop take equal parts of No. i and No. 2. 
 
 Stanley's Pyro Developer by Hydrometer Test. 
 
 Carbonate of Soda, Hydrometer test 20° 401 
 
 Sulphite of Soda, Hydrometer test 20° 40 ( 
 
 Mix the two for alkaline solution and use pyro solution as above. 
 
 Hammer's Pyro Developer. 
 
 No. I. 
 
 Pure Water 27 oz. 
 
 O.xalic Acid 20gr3. 
 
 Dissolve and add pyrogallic acid i oz. 
 
 No. a. 
 
 Pure Water 32 oz. 
 
 Sulphite Soda Cryst 8 oz. 
 
 Carbonate Soda Cryst 4 oz. 
 
 To Develop Take 
 
 No. I I oz. I Water 
 
 No. 2 1 oz. I 
 
 -6 oz. 
 
 Hammer's Pyro Developer by Hydrometer Test. 
 
 No. I. 
 
 Sulphite Soda solution testing 60 by 
 hydrometer. 
 
 To Develop Take 
 
 No. 2. 
 
 Carbonate soda solution testing 30 
 by hydrometer. 
 
 Pyro Solution i oz. 
 
 Water 6 oz. 
 
 No. I Sulphite solution i oz. 
 
 No. 2 Carbonate of Soda solu- 
 tion I oz. 
 
 To get an accurate test with hydrometer the temperature of the solutions should 
 be always the same. 65' Fahr. is about right. 
 
 Carbutt's Pyro=Soda Developer. 
 
 No. 
 
 Distilled or Ice Water 10 oz. 
 
 Oxalic Acid 15 grs. 
 
 Bromide Potass. 30 grs. 
 
 Then add Pyro i oz. and Water to 
 make 16 fluid ozs. 
 
 No. a. 
 
 Water 10 oz. 
 
 Soda Sulphite Crystals 4 oz. 
 
 Soda Carb. Crys. (or dry gran, i 
 
 oz) 2 oz. 
 
 Potash Carbonate i oz. 
 
 Dissolve, and add Water to make 
 measure 16 fluid ozs. 
 No. 3. 
 Bromide of Sodium or Potassium, V4 oz. Water, 5 oz. 
 To Develop Take 
 
 No. I I oz. I Water 40Z 
 
 N0.2 1 oz. I 
 
IN THEORY AND PRACTICE. 
 
 71 
 
 Cramer's Pyro=Soda Developer. 
 
 No. 
 
 No. 2. 
 Water 60 oz. 
 
 Carbonate of Sodium Crystals 
 (Sal Soda.) 5 oz. 
 
 Sulphite of Sodium Crystals 10 oz. 
 
 Pyrogallic Acid i oz. 
 
 Sulphite of Sodium (Crystals). i drm. 
 Dissolve the Sulphite of Sodium in 
 6 oz. Distilled Water and add Acetic 
 .^cid until the solution turns blue lit- 
 mus paper red and then add the Pyro. 
 
 To Develop Take 
 No. I - I drachm. | No. 2 i oz. 
 
 In Winter add to this 2 oz. tepid water; in Summer add 3 to 5 ozs. of cold water. 
 If the high lights are fiat use more of No. i, and if they are too intense use less, 
 but do not use too little of No. i or the alkali will be in excess and cause fog. 
 
 Stanley's Metol and Hydrochinon Developer. 
 
 Sulphite of Soda (Crystals) 4 oz. 
 
 Carbonate of Soda (Crystals). .2j^ oz 
 
 Metol }i oz. 
 
 Hydrochinon f-4 oz. 
 
 Water 80 oz. 
 
 Dissolve in the order given. If the above works too energetically dilute with 
 pure water until the desired result is obtained. 
 
 When thoroughly dissolved, add 
 
 Sulphite of Soda, Crystals.- 4 oz. 
 Carbonate of Soda Crystals.. 2'/4 oz. 
 
 Cramer's rietol and Hydrochinon Developer. 
 
 Metol K oz. 
 
 Hydrochinon J4 oz. 
 
 Water 80 oz. 
 
 To prepare above with Hydrometer, mix 
 
 20 ozs. Sulphite of Soda Solution, testing 60. 
 20 ozs. Carbonate of Soda Solution, testing 30. 
 J4 oz. Metol, H oz. Hydrochinon, dissolved in 40 oz. Water. 
 For summer use, dilute the developer with an equal quantity of water, also for 
 large plates, so that the development does not proceed too rapidly and can be 
 properly controlled. If negatives of less contrast are desired use less Hydrochinon 
 and more Metol. 
 
 Hammer's Metol and Pyro Developer. 
 
 No. I. 
 
 Water 57 ozs. 
 
 Sulphite of Soda (Crystals).. 2% ozs. 
 Metol I oz. 
 
 No. 2. 
 
 Water 57 ozs. 
 
 Sulphite of Soda (Crystals). 2j4 ozs. 
 Pyro J4 oz. 
 
 No. 3. 
 Water 57 ozs. | Carbonate Potass 2H ozs. 
 
72 MODERN PHOTOGRAPHY 
 
 For use. Take 3 ounces of water and i ounce each of Nos. i, 2 and 3. This 
 (Ic'vc'oper iiiav be used repeatedly by adding a little fresh developer as required. 
 
 Keep the useJ developer in separate bottle. 
 
 This developer comoines the desirable qualities of Metol and Pyro, and g^ives an 
 ideal negative. 
 
 Carbutt's Hydro=Metol Developer. 
 
 Water 32 ozs. 
 
 Hydrochinon 60 grs. 
 
 Metol 45 grs. 
 
 Sulphiteol Soda Crystals i}4 oz. 
 
 Bromide of Potash 20 grs. 
 
 Carbonate of Soda Crystals.. ..iV4 oz. 
 
 Dissolve in the order named, filter, place in 8 oz. bottles filled to the neck. After 
 using a portion p'ace in a separate bottle, which can be used again by adding a 
 portion of fresh developer. 
 
 Seed's Eikonogen=Hydrochinon Developer. 
 
 No. 1. 
 
 Distillel or pure well water 32 oz. 
 
 Sodium Sulphite (Crystals) 4 oz. 
 
 Eikonogen 240 gr. 
 
 Hydrochinon 60 gr. 
 
 No. 2. 
 Water 32 oz. 
 
 Carbonate of Potash 4 oz. 
 
 To Develop Take 
 
 No. 1 20Z. I tWater i oz. 
 
 No 2 1 oz. I 
 
 To prepare the above by Hydrometer test. 
 
 Sodium Sulphite Solution to test 
 
 30- 34 oz. 
 
 Eikonogen 240 gr. 
 
 Hydrochinon 60 gr. 
 
 Carbonate of Potash Solution to test 
 50. 
 
 To Develop Take 
 
 No. I 2 oz. I + Water i oz. 
 
 No. 2 1 oz. I 
 
 tFor Double-cjated Plates use 5 oz. water. More water gives less contrast and 
 density. 
 
 Cramer's fletoU Bicarbonate Developer. 
 
 Metol - I oz. ! Sulphite of Soda, Crystals 6 oz. 
 
 Water 6ooz. Bicarbonate of Soda 302. 
 
 Thoroughly dissolve and then add I 
 
 To prepare above with Hydrometer, mix 
 30 oz. Sulphite of Soda Solution testing 75. 
 30 oz. Bicarbonate of Soda Solution, testing 50. 
 I oz. Metol dissolved in 12 oz. Water- 
 
IN THEORY AND PRACTICE. 
 
 73 
 
 This developer has excellent keeping qualities, works very uniform andean be 
 used repeatedly, without difference in the results. The Bicarbonate of Soda being 
 a very mild alkali, it is not liable to injure the film, or fog the plate. 
 
 Cramer's Bromo=Hydrochinon Developer. 
 
 No. I. 
 
 Distilled or Ice Water 25 oz. 
 
 Sulphite of Soda, Crystals 3 oz. 
 
 Hydrochinon % oz. 
 
 Bromide of Potassium -I4 oz. 
 
 Dissolve by warming and let cool 
 before use. 
 
 No. 2. 
 Water 25 oz. 
 
 Carbonate of Soda, Crystals 6 oz. 
 
 Mix I and 2, equal parts, for use. 
 
 Carbutt's Eikonogen and Hydrochinon Developer. 
 
 Avoirdupois 
 No. I. Weight. 
 
 Distilled Waaler 20 oz. 
 
 Sulphite of Soda Crystals 4 oz. 
 
 Eikonogen 330 gr. 
 
 Tlydrochincm 160 gr. 
 
 Water to make up to 32 oz. 
 
 Avoirdupois 
 No. 2. Weight. 
 
 Distilled Water 20 oz. 
 
 Carbonate of Potash 2 oz. 
 
 Carbonate Soda Crystals 2 oz. 
 
 Water to make up to 32 oz. 
 
 No. 2. 
 
 Water 
 
 I oz. 
 
 4 oz. 
 
 I oz. 
 
 50Z. 
 
 Vj oz. 
 
 30Z. 
 
 %oz. 
 
 40Z. 
 
 y^oz. 
 
 4 oz. 
 
 To Develop Take 
 
 No. I. 
 
 For Instantaneous Exposures i oz. 
 
 For Portraits i oz. 
 
 For Landscapes, ) Sen. 20-27 i oz. 
 
 For Full E.xposures, ) " 16-20 i oz. 
 
 For Lantern Slides, 1 i oz. 
 
 For Full Exposures, ' and 2 to 6 drops 10 per cent solution of Bromide of Potas- 
 sium to each oz. Developer. 
 Note.— More of No i will increase density, more of No. 2 will increase detail and 
 softness. Temperature of Developer should not vary much below 65' or above 
 75°. The after-treatment is the same as with any other Developer. 
 
 Eastman's Developer for Transparency Plates. 
 
 No. I. 
 
 Oxalate of Potash i lb. 
 
 Hot Water 3 pints. 
 
 Acidify with sulphuric or citric acid_ 
 
 Test with Litimus paper. 
 
 No. 2. 
 
 Photo-Sulphate of Iron i lb. 
 
 Hot Water 114 pints. 
 
 Sulphuric .■\cid 54 dram. 
 
 Or Citric Acid K oz. 
 
 No. 3. 
 Bromide Potassium i oz. | Water i quart. 
 
74 
 
 MODERN PHOTOGRAPHY 
 
 To Develop Take 
 
 No. I, 6 oz. ; No. 2, i oz.; No. 3, i dram. 
 Mix in the order given. Use cold. 
 
 No. I. 
 
 Hydrochinon 154 grs. 
 
 Sodium Sulphite 2 ozs. 
 
 Sulphurous Acid H oz. 
 
 Distilled Water to 10 ozs. 
 
 Hydrochinon Developer. 
 
 No. 3. 
 Carbonate of Sodium Crystals 
 
 1300 grs. 
 
 Caustic Potash 154 grs. 
 
 Distilled Water 10 ozs. 
 
 To use, mix tcgether i oz. of each and add 3 ozs. of water. 
 
 Eikonogen Developer. 
 
 No. 
 
 No. a. 
 
 Carbonate of Sodium 2V4 ozs. 
 
 Caustic Potash 125, grs. 
 
 Water to make 25 ozs. 
 
 Dissolve 2 ozs. of Sodium Sulphite 
 in 10 ozs. Distilled Water and add i 
 drachm of Hydrochloric acid. To this 
 add 
 
 Eikonogen 125 grs. 
 
 Water to make 25 ozs. 
 
 To use, mix in equal parts and add reslrainer as in Pyro Developer. We do not 
 recommend this developer to the amateur, for if not carefully handled there is a lia- 
 bility to fog. 
 
 Glycine Developer. 
 
 No. 3. 
 
 Potassium Carbonate i oz 
 
 Distilled Water 4 oz. 
 
 No. I. 
 
 Glycine 300 grs. 
 
 Sodium Sulphite 2S ozs. 
 
 Distilled Water 10 ozs. 
 
 To use, mix H oz. of No. i and H oz. of No. 2, and add 3 oz. of water. Use 
 restrainer as in Pyro Developer. 
 
 The above is a favorite formula for developing films. 
 After the film is fixed and washed it should be soaked 
 for five minutes in water 25 ozs., and glycerine i oz. 
 This latter bath has a tendency to keep the film soft 
 and pliable. In developing films they should be treated 
 exactly the same as plates except that they should be 
 soaked in water for about ten minutes, and when devel- 
 oping they should be turned over often, first film up, 
 
IN THEORY AND PRACTICE. 75 
 
 then film down. The developing should be continued 
 as a rule until the image is denser than that on an 
 ordinary plate, as films seem to lose their density in the 
 hypo more than the average plates do. After washing 
 and giving them the glycerine bath they should be 
 pinned to a board to dry, in order that they may dry 
 perfectly flat. 
 
 Rodinal Developer. 
 
 Rodinal is a ready prepared developer which is manu- 
 factured in Berlin, Germany, and is prepared from para- 
 midophenol. It is a light brown liquid, which is sold in 
 two-ounce bottles. In the case of a normal exposure 
 the developer should consist of i part of Rodinal to 25 
 parts of water. In case of an over-exposure use i 
 part of Rodinal to 15 or 20 parts of water, and a 10 
 per cent solution of bromide can be used with it the 
 same as with other developers. In the case of an 
 under-exposure, use i part of Rodinal to 30 or 40 parts 
 of water. A half dozen 4x5 negatives can be devel- 
 oped with y^ drachm of Rodinal to i ^ ozs. of water. 
 
 Tolidol Developer. 
 
 This developer is the first and in fact, the only devel- 
 oper invented and manufactured in America. 
 
 In addition to this distinction, which is purely a patri- 
 otic one, is the incontestible fact that it is superior to any 
 and all of the old developers in the number of its perfec- 
 
76 MODERN PHOTOGRAPHY 
 
 tions and the uniform quality and regularity of its action. 
 
 Tolidol is an ideal developing agent for plates and 
 films, as well as for developing papers. Its action is 
 rapid, yet gradual and easily controlled. It does not 
 stain the hands or plates; is not injurious. It dissolves 
 easily, even in cold water. When it is made up accord- 
 ing to the formula it will keep in solution before and after 
 use, ordinary care being taken. It can be used repeatedly. 
 Tolidol gives beautifully clear negatives, preserving all 
 the fine gradations and delicate details in the high lights 
 as well as in deep shadows. It is excellent for white dra- 
 pery or flesh detail and fine effects in Rembrandt light- 
 ing. It allows the production of a great variety of tones. 
 
 It is excellent for lantern slides and transparencies, for 
 process work, copying work, reproductions and for bro- 
 mide paper. 
 
 Tolidol meets every requirement and is very econom- 
 ical. One ounce makes two and one-half to five gallons of 
 developer, according to taste. One-half grain to one ounce 
 of water will act on a sensitive time-exposed plate. It 
 requires small portions of sulphite and carbonate. 
 
 To add more would be equivalent to asserting that we 
 know more than the plate makers and any of them would 
 tell you that that is not and cannot be so. 
 
 The use of the alkali in all developers, is to open up 
 the pores of the gelatine to permit the developer to gel 
 at the silver salts. When you have accomplit^hed this, 
 •iny further addition of alkali will sinipl}- produce fog 
 
IN THEORY AND PRACTICE. 77 
 
 and photographers using solutions in which the alkalies 
 are separate, as in two solution developers, should be 
 careful not to add an excess of alkali, as it is bound to 
 prove detrimental to the plates. Many of the published 
 formula err in this respect and many a good formula is 
 rendered greatly inferior in the hands of a careless oper- 
 ator through using too much alkali. Beware of develop- 
 ing formula that contain potash, as potash gives a much 
 stronger and harsher action than soda and is rapidly be- 
 ing discarded in favor of soda for that reason. A 
 further point is that by confining the chemical operations 
 to the use of the various sodas much is gained in simpli- 
 city and the liability to serious reactions in developing 
 and fixing solutions and in toning and fixing solutions will 
 be avoided, especially where solutions are kept and used 
 over and over again until exhausted or spoiled. 
 
 Bromide of ammonia is highly recommended as a 
 substitute for bromide of potassium as a restrainer, having 
 a less clogging effect in the highlights. It is used as a 
 loper cent solution. Chloride of sodium, common table 
 salt, is also excellent as a restrainer in a lo per cent solu- 
 tion. In using the latter be careful not to restrain 
 too much, as 4 to 6 drops of chloride of sodium will 
 have as much restraining effect as lo oz. of a like solu- 
 tion of bromide of potassium, but a badly over-exposed 
 piate restrained with chloride of sodium will be much 
 clearer than the same plate treated with bromide of 
 potassium. 
 
78 
 
 MODERN PHOTOGRAPHY. 
 
 Keep the temperature of your developing solution as 
 even as possible and avoid extremes. If necessary in 
 summer, put a piece of ice in your developing tray to 
 keep the solution down to 70° and in winter warm it if 
 necessary to bring it to that point. 
 
 The ordinary fixing bath consists of one part of hypo- 
 sulphite of soda to four parts of water. There are vari- 
 ous other fixing baths known as acid baths, alum baths, 
 etc. Fixing baths should be kept free from dust and to 
 do this you should fit a cover to your bath. They should 
 also be filtered occasionally. The various plate manu- 
 facturers recommend the following fixing baths: 
 
 Seed's Chrome-Alum Fixing Bath. 
 
 No. I. 
 
 Water (3 quarts) 96 oz. 
 
 Hypo 2 lbs. 
 
 Sulphite of Soda (Crystals) 4 oz. 
 
 No. 2. 
 
 Water 32 oz. 
 
 Clirome-Alum 2 oz. 
 
 Sulphuric Acid V4 oz. 
 
 Pour No. 2 into No. 1, while stirring No. i rapidly. As the Chrorae-.Alum dis- 
 solves slowly a stock solution of No. 2 can be made up. 
 
 Cramer's Acid Fixing Bath. 
 
 No. I. 
 
 Hyposulphite of Soda 48 oz. 
 
 Water (3 quarts) 96 oz. 
 
 No. 2. 
 
 Water 32 oz. 
 
 Sulphuric Acid, added gradually \ oz. 
 Sulphite of Sodium Crystals. . . 4 oz. 
 Chrome-.Muni 2 oz. 
 
 After the ingredients are dissolved pour No. 2 into No. i. During cold weather 
 one-half tiie quantity of No. 2 is sutticient. This ba'h remains clear after trequt-iit 
 use, does not discolor the negatives and hardens the gelatine to such a degree tiial 
 they can be washed in warm water. They sliDuld be left in the bath five to ten min- 
 utes after the Bromide ul Silver appears to have been dissolved, to insure perma- 
 nency, freedom from stain and perfect hardening. With the use of iho above 
 described .Acid Fixing Bath, tliere is no danger of frilling, even in tropical cli- 
 mates. 
 
CHAPTER VIII. 
 
 Even the professional, who has had years of experi- 
 ence, does not produce a perfect plate every time, and 
 the amateur must not be discouraged if he meets with 
 failures very often. The professional resorts to many 
 different dodges for doctering up his unsatisfactory neg- 
 atives. The most common faults with amateur negatives 
 are that they are either too thin or too dense, i. e., they 
 are either under or over exposed or developed, or both. 
 To a certain extent these evils can be remedied. If our 
 negative is too thin and gives a flat print with little relief 
 of light and shade, we may improve it by means of 
 intensification. If the negative has been dried it must 
 be soaked in water for about twenty minutes before 
 applying the intensifi'ir. If the negative is not yet dried, 
 it must be very thoroughly washed to remove the very 
 last traces of hypo. 
 
 Bi-Chloride of Mercury Intensifier. 
 
 No. a. 
 
 Sulphite of Soda, Crystals 154 grs. 
 
 Distilled Water 3 oz. 
 
 No. I. 
 
 Bi-Chloride of Mercury 31 grs. 
 
 Distilled Water 4 oz. 
 
 The negative is laid in a tray and solution No. i is 
 poured over it. The tray must be kept rocking con- 
 stantly as in developing and see that the solution thor- 
 oughly covers the entire plate or you will have streaks. 
 
 7» 
 
8o MODERN PHOTOGRAPHY 
 
 It will soon begin to turn a dirty white and the length of 
 time it is to remain in the solution depends largely on 
 the amount of intensification desired. The negative is 
 removed and rinsed for a few minutes in running water 
 and then put in another tray and solution No. 2 is poured 
 over it. Special trays should be provided for intensifi- 
 cation and so labeled and not used for other purposes, 
 unless they are made of glass or porcelain, and then 
 they must be thoroughly cleaned after use. As soon as 
 solution No. 2 begins to turn the plate black, remove it 
 and look through the negative towards the light and 
 when it has blackened sufficiently remove it from the 
 solution and wash for at least one hour in running water 
 and then put it away to dry. 
 
 Chloride as well as Bi-Chloride of mercury is used as 
 an intensifier and the following is a standard formula: 
 
 Chloride of Mercury Intensifier. 
 
 No. I. 
 
 Chloride of Mercury loo grs. 
 
 Ammonium Chloride loo grs.' 
 
 Distilled Water lo oz. 
 
 In making No. i, dissolve the ammonium chloride in 
 the water and then add the chloride of mercury. Shake 
 the bottle occasionally and when the mercury is all dis- 
 solved it is ready for use. The solution acts very much 
 like that previously described. When the plate has 
 turned white it should be lifted out, washed for about 
 twenty minutes and then treated with No. 2 until it turns 
 black and the color is sufficiently dense. Should a very 
 
 No. a. 
 
 Sodium Sulphite i oz. 
 
 Distilled Water 16 oz. 
 
IN THEORY AND PRACTICE. 8l 
 
 dense intensification be desired a 5 per cent solution of 
 ammonia may be substituted for the sulphite. 
 
 The Cramer Dry Plate Works advise the following: 
 
 Cramer Intensifier. 
 
 No. I. 
 
 Bi-Chloride of Mercury, Satur- 
 
 rated Solution *q. s. 
 
 Iodide of Potassium iJi oz. 
 
 Distilled Water 6 oz. 
 
 No. 2. 
 
 Hyposulphite of Soda i oz. 
 
 Distilled Water 20 oz. 
 
 In solution No. i a saturated solution of the mercury 
 should be made with water, and this should be poured 
 gradually into the solution of potassium and water until 
 the point is reached, when the 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. You are now ready to add No. 2. 
 You will note this is a single solution intensifier. For 
 use, the above solution should be diluted with about three 
 parts of water. Proceed as with other intensifiers 
 until sufficient intensity is reached and wash thoroughly. 
 Should the plate be over intensified it may be reduced 
 by placing it in the hypo fixing bath for a short time. 
 
 Be careful to mark all bottles containing intensifiers 
 POISON and put them away carefull}-. 
 
 Do not try to intensify plates when you have scratches 
 or cuts on your fingers and do not place your face over 
 the solution where you would inhale the fumes of the 
 mercury. Keep your fingers out of all mercury baths 
 as much as possible. 
 
 ♦q. s. signifies a sufficient quantity. 
 
82 MODERN PHOTOGRAPHY 
 
 Mr. John Carbutt recommends the following: 
 Carbutt's Intenslfier. 
 
 No. I. I No. 3. 
 
 Bichlor. Mercury 240 grs. Chloride Ammonia 240 grs. 
 
 Chloride Ammonia 1 240 grs. Water 20 oz. 
 
 Distilled Water 20 oz. | 
 
 No. 3. 
 
 Distilled Water 6 oz. I Distilled Water 2 oz. 
 
 Cyanide Potass. C. P 60 grs. I Nitrate of Silver 60 gr 
 
 Pour the silver into the cyanide solution while stir- 
 ring. Let the plate to be intensified, wash for at least 
 half an hour, then lay in a 5 per cent solution of alum 
 for ten minutes and again wash thoroughly; this is to 
 insure the perfect elimination of the hypo. The least 
 trace of yellowness after intensifying shows that the 
 washing was not sufficient. 
 
 Flow sufficient of No. i over the negative to cover it, 
 and allow to either partially or entirely whiten; the 
 longer it is allowed to act, the more intense will be the 
 result; pour off into the sink, then flow over No. 2 and 
 allow to act one minute; wash off. and pour over, or 
 immerse in No. 3 until changed entirely to a dark brown 
 or black. No. 3 can be returned to its bottle, but Nos. i 
 and 2 had better be thrown away. Wash thoroughly 
 and dry. 
 
 We do not recommend the mercury intensifiers and 
 advise amateurs to have as little as possible to do with 
 mercury in any form. Even with the most thorough 
 washing you will sometimes fail to eradicate the mercury 
 entirely, and after a while you will find your negative 
 
IN THEORY AND PRACTICE. 
 
 83 
 
 is ruined. Tlie Uranium intensifier gives as good if not 
 better results and without any danger of destroying the 
 plate. 
 
 Uranium Intensifier. 
 
 No. I. 
 
 Nitrate of Uranium 15 grs. 
 
 Distilled Water 4 oz. 
 
 No. 2. 
 Ferri-Cyanide of Potassium. ..15 grs. 
 Distilled Water 4 oz. 
 
 For use mix 3 oz. of No. i, 3 oz. of No. 2 and i oz. 
 of Glacial Acetic Acid. The solution is poured over the 
 plate, which has previously been washed, and the tray is 
 kept rocking constantly. At first the plate assumes a 
 dark brown color and later a red color, which prints 
 very well. Do not leave the negative in tr ^ intensifier 
 too long as the color is somewhat deceptive and a nega- 
 tive while in the tray may not look strong but when held 
 to the light may be found to be fully intensified. The 
 plate should then be washed for about a quarter of an 
 hour. If washed too long the intensification will be 
 removed and yet it must be washed sufficiently to remove 
 all chemicals from the film. At first the water runs off 
 the plate as though the latter were greased. Washing 
 must be continued until the acid, which causes this greasy 
 appearance, is entirely removed. This solution may 
 also be used for local intensification, i. e , intensification 
 in spots or parts. To do this you first intensify the 
 entire negative aud then proceed to reduce the intensifi- 
 cation in places by the application of diluted ammonia 
 with a camel's hair brush. One part of ammonia, spe- 
 
84 MODERN PHOTOGRAPHY 
 
 cific gravity .9O, in twenty parts of water is about right. 
 The intensification fades away under the application of 
 the ammonia. When applying the ammonia a tray of 
 water should be at hand and if the intensification is fad- 
 ing too much or beyond the spots you desire to bleach, 
 dash water over the plate, or better still, hold it under 
 running water. Keep the plate fiat when applying the 
 ammonia and apply a little at a time, watching carefully 
 to see that it does not run where it is not wanted. If it 
 is a sky that requii s reducing, stand the plate on edge 
 and the sky downward so the ammonia will run away 
 from instead of towards the picture. After this treat- 
 ment the negative should be washed for fully one hour 
 in order to remove the last traces of ammonia. 
 
 Very often the amateur in seeking to bring out every 
 detail in his plate over developes it, i. e., deposits silver 
 on it with such a lavish hand that when he comes to 
 print from the negative he finds it so dense as to require 
 hours to print it. This may be remedied by what is 
 technically known as reduction. There are several 
 formulas for reducers and there is little choice between 
 them. 
 
 Hammer's Reducer. 
 
 No. I. 
 Water i6 oz. 
 
 Ferricyanide of Pottassium i oz. 
 
 No. a. 
 
 Water i6 oz. 
 
 Hyposulphite of Sodium i oz. 
 
 Keep solution No. i in a brown or dark-blue bottle 
 and in the dark room, as it is effected by the light. Take 
 
IN TUF.ORY AND PRACTICE. 85 
 
 a sufficient quantity of No. 2 to cover the plate in a tray, 
 and add to it a small quantity of No. i ; immerse the plate 
 and watch it carefully. If the solution contains enough 
 of No. I, the reduction will proceed rapidly. If certain 
 parts only of the negative are too dense, apply the redu- 
 cing solution to those parts, while wet, with a pencil 
 brush. Wash the plate thoroughly after this treat- 
 ment. 
 
 Lainer's Reducer. 
 
 Potassium Iodide lo grs. i Distilled Water 2i4 oz. 
 
 Sodium Hyposulphite i4 oz. I 
 
 If the negative has been dried it must first be thor- 
 oughly soaked as when intensifying, but if still wet the 
 reducer may at once be applied by flowing over it in a 
 tray but the plate should not be allowed to reduce too 
 far but rather removed before it has reached the appar- 
 ently right reduction and washed in water. If not reduced 
 sufficiently it can again be inserted. 
 Belitzki's Reducer. 
 
 Potassium Ferri Oxalate 54 oz. 
 
 Sodium Sulphite i8o grs. 
 
 Water lo 02. 
 
 When this has dissolved add; 
 
 Oxalic Acid, Crystals 30 grs. 
 
 Now measure out 
 
 Sodium Hyposulphite 2Vi oz. 
 
 Water 5 oz. 
 
 And when dissolved add this to the above. Before 
 the oxalic acid is added to the first solution it will be an 
 
86 MODERN PHOTOGKAPHY 
 
 ox-blood red but after the addition will turn green. It 
 should then be poured off carefully and added to the hypo 
 solution. This solution is applied either to a wet plate 
 or one which has been soaked, by flowing over it. Plates 
 that need local reduction only may be treated with any 
 of the above reducers by applying it with a camel's hair 
 brush the same as directed for intensification. 
 
 Reduction by means of alcohol is very efficient and 
 convenient under some conditions as it requires no chem- 
 icals aside from the alcohol. It is mostly confined, how- 
 ever, to negatives that require local reduction only. The 
 negative should be laid, film up, upon a flat surface like 
 a table or a piece of plate glass and the portions to be 
 reduced are rubbed vigorously with a piece of chamois 
 leather wet with alcohol. The finger of an old kid glove 
 when turned inside out will do very well, but care must 
 be exercised not to let the seam in the glove come in con- 
 tact with the film. It should be turned inside out because 
 the alcohol might make the dye in the glove "run " and 
 stain the negative. Do not be afraid of hurting the film, 
 provided the negative is thoroughly dry, for instead of 
 softening the alcohol hardens the film, and after it has 
 been rubbed for a while the film will shine like a piece 
 of polished steel, and all the dull, downy appearance that 
 is often seen on over developed negatives will be entirely 
 removed. Keep the leather wet with the alcohol or you 
 will effect little. On examining the leather you will see 
 that you have removed some of the silver frcm the filni 
 
IN THEORY AND PRACTICE. 87 
 
 as the leather has been blackened thereby. One of the 
 advantages of this process of reduction is that you can 
 stop at any time and take a proof and if not satisfactory 
 you can proceed with the reduction. We should imagine 
 that a negative rubbed with alcohol would wear much 
 better than one which has not and be less liable to be 
 scratched and finger marked, for the surface of the film 
 appears to be as hard as sole leather. This is an excel- 
 lent process for treating halation. Aside from being 
 too dense or too thin negatives often have other faults 
 prominent among which are the following: 
 
 Yellow Negatives. This is occasioned by prolonged 
 development, by a decomposed Pyro Solution or by an 
 insufficient quantity of or decomposed sulphite of sodium 
 in the developer. Sometimes the yellow merges into a 
 red-brown, depending somewhat on the developer. This 
 may be remedied by using a clearing solution consist- 
 ing of 
 
 Water 20 oz. I Sulphuric Acid i dram. 
 
 PulverizedAlum Ys oz. 1 
 
 Always pour the acid into the water; never pour water 
 into acid. The negative should remain in the clearing 
 bath for about ten minutes and should then be well 
 washed. 
 
 Yellow AND Brown Stains. These stains are usually 
 accompanied by an iridescence on the surface of the neg- 
 ative. It is caused by using too warm a developer, by 
 strengthening developer while plate is in the tray, or by 
 
88 MODERN IMIOTOGRAPHY 
 
 using a developer stronger in alkali than the plate will 
 stand. Never strengthen the developer by pouring the 
 solution directly into the tray which has a plate in it. 
 Remove the plate, add new developer, pour it into a 
 graduate, replace plate and flow developer over it. The^e 
 stains are also sometimes caused by using a plain hypo 
 bath which has been used too long and which has become 
 dark in color. These stains may usually be removed by 
 local application of a reducing solution. 
 
 Weak or Thin Negatives. This may result from sev- 
 eral causes. The film on the negative may be too thin. 
 If it has clear shadows it is the result of under develop- 
 ment. If it has plenty of detail in the shadows it is a 
 case of over exposure or too weak developer. This may 
 be remedied by intensification. 
 
 Green Fog. The plate is covered with a green fog or 
 film when hypo has been allowed to get into the devel- 
 oper. 
 
 Transparent Lines. This is sometimes found on 
 plates after development and is caused by scratching the 
 film by dusting with a coarse brush. 
 
 Mottled Negatives. These are caused by the pre- 
 cipitation from the fixing bath which contains alum, if 
 the solution is old or dirty. Negatives cannot be reme- 
 died when in this condition but it can be guarded against 
 by preparing a new fixing bath. 
 
 Crystallization on Negatives. This is caused by 
 insufticient washing after fixing. If the salt is just begin- 
 
IN THEORY AND PRACTICE. 89 
 
 ning to appear and the film' of the negative has not been 
 destroyed the plate may be saved by a thorough washing 
 for two hours followed by a bath composed of 50 grs. of 
 Persulphate of Potash, sometimes known as Anthion, to 
 16 oz. of Water. They should be soaked for ten min- 
 utes, washed and examined, and this operation repeated 
 three or four times. If the hypo crystals disappear after 
 this but the yellow stain remains, treat with the cleaning 
 solution. If, however, the hypo has eaten into the film 
 you might just as well throw away the negative. 
 
 Frilling. This consists of the film separating from 
 the glass at the edges of the plate and wrinkling up. 
 This sometimes occurs in the development in hot 
 weather. Remedy, keep developer cool with ice. It 
 also occurs in the fixing bath and when washing. This 
 occurs when using too concentrated or too old a fixing 
 bath or washing in too warm water. Alum in the fixing 
 bath prevents frilling. 
 
 Blisters on Negatives. The same causes that pro- 
 duce frilling sometimes produce blisters in the middle of 
 the plate. Plates made in the hot summer months by 
 manufacturers who have no ice plants in connection with 
 their factories, for keeping down the temperature, often 
 have minute blisters over their entire surface, and these 
 blisters are so small as not to be perceived until after the 
 plate is dried. As a usual thing they do not effect the 
 printing qualities of the negatives and do not show except 
 in the case of a clear sky. In such a case the sky can be 
 
90 
 
 MODERN PHOTOGRAPHY 
 
 blanked out by covering with a piece of paper and the 
 sky of another negative printed in as described in the next 
 chapter. Too much acid in the fixing bath will also pro- 
 duce blisters. 
 
 Round Transparknt Spots. These are caused by 
 bubbles in the developer. Break the bubbles with the 
 finger as rapidly as they appear. The negative can be 
 saved by skilful touching up, which will be explained 
 later on. 
 
 Irregular Transparent Spots. These are caused 
 by dust on the film of the plate before it was exposed. 
 They can be filled in as will be described later on. 
 
 Small Dark Spots. Small dark spots sometimes 
 appear all over the negative. This is sometimes caused 
 by old plates that have deteriorated but more often from 
 faulty fixing, especially where negatives are fixed in a 
 tray and lay in a horizontal position. Small pieces of 
 film and dirt settle on the face of the negative and parti- 
 cles of the bromide of silver are not fixed out on this 
 account. Dirt also settles and imbeds itself in the film. 
 There is no remedy. It can be avoided by fixing in a 
 bath where plates are held in a vertical position and all 
 dirt sinks to the bottom. 
 
 Streaks. These are sometimes caused by excess of 
 acid in fixing bath, particularly if the streaks run the 
 same way that the plate was inserted in bath. They 
 sometimes occur from slight leakage of light in plate 
 holder or bellows, but then show when plate is devel- 
 
IN THEORY AND PRACTICE. pt 
 
 oped and before fixing. There is no way of saving such 
 plates. Prepare new fixing bath or hunt up leaks in 
 camera or holders as the case may be. 
 
 Fog. Fog is a deposit of silver which has the appear- 
 ance of a grey veil all over the plate. It deepens the 
 shadows and gives the entire negative a flat, dirty appear- 
 ance without sharp lines. There are many causes for 
 fog, among them being over exposure of the plate, leak- 
 age of light through a defect in the plate holder, or cam- 
 era, or the admission of white light into the dark room. 
 Fog may be produced by an unsafe lamp in the dark 
 room, either at the time the plates are loaded or during 
 development. A developer which is too strong in alkali 
 will also produce fog. If the plate has been exposed to 
 light before development the fog will make its appear- 
 ance before the image does. Very old plates also have 
 a tendency to fog. If the fog was caused by over expos- 
 ure or light leakage in camera it can be verified by 
 examining the edges of the plate where it was held in 
 the holder. If the protected edges remained white then 
 the latter was the case, but if the entire surface of the 
 plate is fogged then it is probably a case of unsafe light 
 in the dark room. Fogged spots at one side or one cor- 
 ner of the plate are attributable to carelessness in insert- 
 ing the slide in the plate holder after exposure, allowing 
 the white light to creep in by inserting one corner of 
 the slide first. As a general rule if the fog is not too 
 dense and the contrasts are good the plate can be saved 
 
p2 MODERN PHOTOGRAPHY 
 
 by reducing it until all signs of fog have disappeared, 
 and then after giving it a thorough washing the plate can 
 be intensified to the required shade. Local reduction 
 can be used where portions only are fogged followed 
 by local intensification. Small fog spots may sometimes 
 be successfully removed by allowing the film to dry thor- 
 oughly and then reducing by means of the alcohol rub- 
 bing process as above described. If it is suspected that 
 the fog is owing to leakage of light through the camera 
 or holder careful examination must be made until the 
 source is discovered and the fault remedied. If the dark 
 room lamp is suspected it should be carefully tested 
 by exposing a fresh plate to the rays of the lantern for 
 several minutes and then developing it. If the devel- 
 oper produces fog and yet is not too strong in alkali 
 then we know that the lamp is at fault and steps must be 
 taken to procure another ruby glass or to fit an orange 
 glass or paper over the ruby. 
 
CHAP! ER IX. 
 
 When a negative has small transparent spots on it. 
 caused by dust on the plate or air bubbles in the devel- 
 oper, they may be successfully treated by what is known 
 as the spotting-out process. The negative is placed at an 
 angle of 45° and a piece of card board or white paper 
 is placed back of it in such a way as to reflect the 
 light through the negative, or better still, it is placed on 
 a retouching stand. The spotting is usually done with 
 water colors, although India ink is sometimes used. 
 Gum water or the white of an egg should be used with 
 the color in order to make it adhere firmly and it also 
 prevents it running. The gum water is prepared by 
 putting a few pieces of gum Arabic in a small vial and 
 covering it with warm water. Shake the vial occasion- 
 ally and when the gum is dissolved it is ready for use. 
 One or two sable brushes with very fine points should be 
 secured. A little color should be mixed with the gum 
 water or albumen and care must be taken to match the 
 color of the tilm on the negative as nearly as possible. 
 The best water colors for the purpose are what are 
 known as moist colors, which are put up in small china 
 pans. Sepia, vandyke brown, burnt umber, black and 
 dark blue are the principal colors used. Mix a little of 
 the color to the right shade by means of a large brush, 
 
 93 
 
94 Modern photography 
 
 but be careful not to thin the color too much. Now 
 take your fine pointed brush, wet it in the gum water 
 and draw it to a fine point between the fingers and by 
 turning it around and around on the pallette or saucer. 
 Now lift a small quantity of the color on the extreme 
 end of the brush and apply it to the transparent spot. 
 You must not attempt to fill in the entire spot with one 
 daub but rather apply the extreme point of the brush to 
 one side of the spot, making a very small stipple, about 
 the size of the point of a pin. Allow it to dry for a min- 
 ute and then make another stipple and so on, until the 
 spot is entirely filled in. Be careful not to use too dark 
 a color or to apply too much of it, so the spot will be 
 darker than the surrounding film, or when you come to 
 print you will leave a white, instead of a black mark on 
 your paper. If you match the color of the negative 
 carefully and do not apply too much color, when you 
 come to make your print you cannot find the spot, 
 because the light has penetrated through it to just the 
 extent that it penetrated the film. The dots need not 
 touch one another exactly and the spot need not be 
 entirely filled in. Very small spaces between the dots 
 do not show on the print. 
 
 Negative spotting may also be done by means of a 
 medium hard lead pencil, sharpened to a fine point 
 but when a pencil is used, it is first necessary to apply 
 a small quantity of retouching varnish to the spot or 
 the pencil will not act. Retouching varnish can be 
 
IN THEORY AND PRACTICE. 95 
 
 purchased at very small expense from any photogra 
 phic supply house, or the following will answer: 
 
 Gum damar 6ogrs. 
 
 Turpentine i oz. 
 
 A very small quantity of the varnish should be taken 
 on the end of the forefinger and applied to the spot by 
 rubbing it lightly. Allow the varnish to dry, which it 
 will do in a few minutes and then proceed to stipple in 
 the spot with the extreme point of the pencil, making as 
 it were minute commas. These can lap one over the 
 other until the spot is entirely filled in. Sometimes the 
 photographer prefers to fill in the spot with one or two 
 daubs of black varnish or Gihon's opaque, which will 
 leave a white spot on the print and then spot out the 
 print with water color that matches the color of the 
 print. Spotting out on negatives must not be confounded 
 with spotting out on prints. 
 
 It sometimes happens that a negative prints too dark 
 in spots or one part prints more rapidly than another. 
 This is often found in landscapes that have a heavy fore- 
 ground and also sky effects. If we print long enough 
 to bring out the details of the foreground we find we 
 have over-printed the sky. Sometimes we find the 
 reverse, the top of the negative prints slower than the 
 foreground. This can be remedied in several ways. If 
 the dividing line between is straight, we can cover the 
 portion which prints too quickly with tissue paper or 
 matt varnish. Matt varnish is prepared as follows.* 
 
96 MODERN PHOTOGRAPHY 
 
 Sandarac 140 grs. 1 Ether 7 oz3. 
 
 Gum Mastic 3ogrs. I Benzole ij^ ozs. 
 
 Dissolve the sandarac and mastic in the ether and then 
 add the benzole. FiUer through mush'n before using. 
 This preparation should not be used close to a lamp or 
 gas flame, as it is highly combustible. The matt varn;^ll 
 is never applied to the film, but always to the glass side 
 (,f the negative. The plate should be held in the left 
 hand in a horizontal position, glass side up and the var- 
 nish poured in the center of the plate. Then tilt the 
 plate from one side to the other until the varnish runs to 
 all sides of it but do not allow it to drip over the sides. 
 
 When the plate has been covered entirely, turn it en 
 end, in a vertical position, putting one corner of the plate 
 in the mouth of the bottle so that all surplus varnish 
 will run into the bottle. When the plate has been well 
 drained, allow the varnish to dry and it can then be 
 scraped away from that portion of the negative which 
 prints slowly and allowed to cover the back of that por- 
 tion which prints too rapidl}'. 
 
 It sometimes happens, that an otherwise good negative 
 has a poor sky or that that portion of the negative has 
 met with some accident. In such an event the sky can 
 be blanked out entirely as mentioned in the last chapter 
 in the case of blisters and the sky from another nega- 
 tive printed in. This would be easy to accomplish with 
 a piece of black paper if the sky line was a straight one, 
 but it often happens that trees, houses and church 
 
IN THEORY AND PRACTICE. 97 
 
 Steeples encroach into the sky, thus making the line 
 irregular. To blank out in such a case, use a fine 
 pointed pen (those known as crow quills and sold by 
 artists' supply houses, are best) and black varnish or 
 India ink, mixed with white of egg' The negative 
 should be placed on the retouching stand with the sky 
 downward and the film side towards you. Charge the 
 pen by means of a brush and go carefully around the 
 outlines of the picture where it merges into the sky. 
 Care must be exercised not to run the line over the 
 picture but this can easily be avoided. When the 
 outline has been completed with the pen, take a small, 
 fine-pointed brush and follow this line but not lapping it 
 and you will then have a broad line separating the 
 picture from the sky. You can now use a larger brush 
 and blank out the balance of the sky. When dry the 
 negative is ready to print and when printed the result- 
 ing picture will have a perfectly plain white sky, on 
 which can be printed any sky effect desired with another 
 negative. 
 
 Retouching is seldom practiced by amateur photog- 
 raphers and as a rule when they have work of this class 
 they usually give it out to the professional. In fact, 
 retouching is an art in itself and it is not every profes- 
 sional who can do it properly. To be a good retoucher 
 you must be something more than a good photographer, 
 you must be an artist. It is the act by which, as a rule, 
 the photographer flatters his patron. By its means he 
 
98 
 
 MODERN PHOTOGRAPHY 
 
 removes the wrinkles, freckles, crows' feet, moles and 
 other distinguishing marks but at the same time unfor- 
 tunately destroys the likeness. Retouching is almost 
 wholly applied to portraits, although now and then a 
 marine or landscape negative may be improved in some 
 of its details by judicious re- 
 touching. It is an art which 
 can only be acquired by 
 assiduous practice and no 
 amount of cut and dried rules 
 will make a first class re- 
 toucher. When working on 
 portraits great care must be 
 exercised not to overdo it or 
 the result will be a failure so 
 fai as the likeness is con- 
 cerned. In portraits of el- 
 derly people the retouching 
 should be confined to the shadows on the face and no 
 attempt should be made to remove the wrinkles and 
 crows' feet at the corners of the eyes. 
 
 The first requisite is a retouching stand of some kind. 
 This can be purchased from a photographic supply 
 house or the amateur can make one himself if he is at all 
 ingenious and handy with tools. Fig. 29 illustrates a 
 home-made retouching stand which is very easily made. 
 It consists of three small, cheap frames. Two of the^e 
 frames are hinged together at the front and the third. 
 
IN THEORY AND PRACTICE. 99 
 
 which is smaller than the others, is pivoted to the hori- 
 zontal one. The smaller frame holds a mirror, or a piece 
 of white cardboard will do. The horizontal frame has 
 four feet to raise it from the table to give room for the 
 mirror to swing. The other large frame is placed at an 
 angle of about 45° but the angle may be varied by 
 means of the adjustable foot at the side. In this upper 
 frame is placed a piece of ground glass on which the 
 negative lies. A piece of plain glass could be used instead 
 of ground glass and it could be covered on the back 
 with matt varnish. Just below the negative is a flat 
 wooden support which holds the negative in position and 
 the support may be raised or lowered according to the 
 size or part of the negative that is being worked upon. 
 This adjustment is made easy by boring a number ot 
 small holes in each side of the front and holding the sup- 
 port in position by means of wooden pins which fit in 
 these holes. Attached to the upper frame is still another 
 one, made of heavy wire and pivoted, so it can be raised 
 or lowered. This wire frame acts as a support for the 
 focusing cloth or a piece of black cambric which shuts 
 out all light except that which comes in through the 
 ground glass. 
 
 The stand being ready, the film side of the negative 
 is lightly rubbed with retouching varnish as explained 
 when spotting out. When the varnish is dry the plate is 
 placed on the ground glass with the film side out and the 
 support adjusted so the negative is about central. Two 
 
TOO MODERN PHOTOGRAPHY 
 
 or three hard pencils should be purchased, preferably H, 
 HH and HHH. These should be sharpened to a long 
 taper point and the final point should be put on them by 
 means of a piece of fine emery paper. The emerv paper 
 should be glued to a sm.all piece of board and kept on 
 the table close to the retouching stand, for the points of 
 the pencils must be kept needle sharp and constant appli- 
 cation to the emery paper must be made. In sharpen- 
 ing, keep the pencil turning in the fingers and the fine 
 point is easily secured Take a piece of black paper, 
 such as plates are packed in in their boxes and trimming 
 it to the size of your negative or a little larger, cut a 
 round hole in it near the center and about three-quarters 
 of an inch in diameter. Place the screen over your 
 negative so the circular hole will come over that por- 
 tion which you are about to retouch. This screen has 
 two uses, one to cut off all light except at the point at 
 which you wish to work and the other to keep the 
 fingers and hand from coming in contact with the film. 
 The latter is quite necessary, particularly in summer 
 when the hands are liable to perspire. The angle of 
 the mirror or the frame may be shifted so as to throw 
 the light directly on the ground glass. Retouching 
 may be done at night by means of artificial light by 
 placing the stand so that the mirror will reflect the 
 light. If done in the daytime the operator should 
 face a window, a north light being preferable. A 
 strong reading glass will be of great assistance lu 
 
IN THEORY AND PRACTICE, 
 
 lOI 
 
 retouching, as the hnes and dots should be very fine 
 and the work is very fatiguing on the eyes.. 
 
 Another very simple retouching stand is shown in Fig. 
 30 and it can easily be made by any one. Its general 
 shape is that of a truncated pyramid. The top A 
 
 should be made of 
 tin or zinc and the 
 sides B and C can 
 be made of light 
 wood, tar board or 
 any other suitable 
 material. Four 
 pieces of tar board 
 joined at the edges 
 by gluing on strips 
 of black muslin, will 
 answer very well. In one side should be cut an open- 
 ing, say 5x8 inches, as shown at B and in the opening 
 should be fitted a piece of ground glass. In the center is 
 placed a small lamp which will illuminate the negative. 
 A small projection should be glued on just under the 
 ground glass, on which to rest the negative. 
 
 As we said before, retouching can only be acquired 
 by practice but a few hints may be of value to the ama- 
 teur who proposes to try his hand on this work. 
 Each retoucher has his favorite method of working. 
 Some use small stipples and commas, others use wavy 
 hair-Uke lines and others employ both on one negative. 
 
 Fig 30. 
 
I02 
 
 MODERN PHOTOGRAPHY 
 
 Fig. 31 is an illustration made from a photograph 
 before it was retouched, Fig. 33 was made from a print 
 
 Fig. 3'- 
 
 from the same negative after it was retouched, and Fig. 
 32 gives a general idea of where the retouching was 
 
IN THEORY AND PRACTICE. 
 
 103 
 
 done. Fig. 32 is only a reproduction of the retouching 
 lines as near as an artist could follow them with pen and 
 
 Fig. 32. 
 
 ink and in the original of course the lines were much 
 finer and blended into one another. In nearly all 
 
I04 
 
 MODERN PHOTOGRAPllV 
 
 instances the retoucher works with the extreme point 
 of the pencil, holding it at right angles to the plate. 
 
 f<^- 33. 
 
 This negative was retouched by a professional and you 
 will note that comparatively little retouching has been 
 
m THEORY AND PRACTICE. IO5 
 
 done, in fact just enough to even up the Hghting of the 
 face. In Fig. 31 you will note that a straggling lock of 
 hair has escaped from the hat and the retoucher has 
 removed it, so that it does not show in Fig. 33. These 
 illustrations being made by the half-tone process much 
 of the detail is lost and the difference in the illustrations 
 is not so marked as it is in the photographs. Sometimes 
 the retoucher applies the plumbago by means of the 
 finger tip or with a stump, such as is used in crayon and 
 pastel work. This is only done where larger surfaces 
 require lighting up. It is well for the amateur to work 
 slowly, taking a proof of his negative now and then to 
 see what effect his work has produced. If the retouch- 
 ing shows in the print or is not satisfactory, it can be 
 removed by means of a soft rag dipped in turpentine. 
 Above all, avoid doing too much retouching; soften down 
 the harsh lines usually found on each side of the nose 
 and soften up the dark side of the face (the side that is 
 light in the negative) just enough to bring the two sides 
 in harmony. After the retouching is to your satisfaction, 
 it is well to varnish the negative in order that the retouch- 
 ing shall not become blurred through handling. The 
 varnishing and general care of negatives will be described 
 later on. 
 
CHAPTER X. 
 
 Having passed through the various stages and 
 exposed, developed, fixed and washed our negative and 
 remedied any slight imperfections in it, we are now 
 ready to consider one of the most important stages of 
 picture making, that of printing and toning. It is one of 
 the most important because, although we may have 
 succeeded in securing a most admirable negative, that is 
 
 no guarantee that we shall 
 have a beautiful picture, 
 as much depends on the 
 paper used, the quality of 
 the printing and the suc- 
 cess in toning. 
 
 Before starting our 
 printing, we must have a 
 suitable device for holding 
 the paper and plate in 
 close contact. Such a device is known as a printing 
 frame and is illustrated in Fig. 34. These frames are 
 comparatively cheap and the amateur should have at 
 least four of them, for it is not every day that you can 
 print and as the average amateur will have to do his 
 printing on holidays or outside of business hours, it will 
 be found advantageous to keep four frames going at 
 
 106 
 
 Fig. 34. 
 
IN THEORY AND PRACTICE. lO^ 
 
 one time. If your plates are 4x5 we should advise the 
 purchase of three frames of this size and the fourth one 
 say 8x10. Our reason for so advising is that you may 
 desire to put a 4x5 view in the middle of an 8x10 sheet 
 and to do this you must have an 8x10 frame. 
 
 The negative is laid in the printing frame film side up, 
 the printing paper is laid upon it film or sensitive side 
 down, so that the sensitive side of the paper shall come 
 in contact with the film side of the plate. There will 
 be no difficulty in determining which is the sensitive side 
 of the paper. The cover of the printing frame is then 
 laid upon the paper, the springs depressed and moved 
 from right to left as the case may be, until they come 
 under the metal catches on the edge of the frame,, thus 
 holding the paper in perfect contact with the negative. 
 Before placing the paper in position however, it is abso- 
 lutely necessary that all dust be removed from the face 
 of the negative. This may be done by means of a 
 camel's hair brush, as we did when we loaded our plate 
 holders, but as in that instance, we must also here be 
 careful not to brush the film too vigorously, or we will 
 electrofy the plate and thus cause the small particles of 
 dust which are ever floating in the atmosphere to be 
 attracted to it. In order to overcome this obstacle, some 
 photographers undertake to free the plate from dust by 
 blowing upon it with their mouth. This is a dangerous 
 practice, either when loading plate holders or when pre- 
 paring to print, for small particles of saliva are very apt 
 
io8 
 
 MODERN PHOTOGRAPHY 
 
 to accompany the breath and bespatter the face of the 
 negative, which will cause the film on the paper to be 
 cemented to the face of the plate. A far better practice 
 in dusting plates is to use a bulb similar to those which 
 operate the shutter in hand cameras, though those a little 
 larger in size will be found preferable. 
 
 Fig. 35 illustrates such a bulb fitted with a short pipe 
 made of lead. This pipe being heavy, prevents the bulb 
 
 from rolling around when 
 laid down. By compressing 
 the bulb a strong current of 
 air can be directed all over 
 the plate, effectually remov- 
 ing all particles which ma}' 
 be resting upon it. This bulb 
 
 will also be found useful for 
 
 ^'^ ^^- cleaning the plate holders and 
 
 the camera, for the current of air can be directed into 
 corners and out of the way places which cannot be 
 reached by the brush. 
 
 Having placed the paper in the frame we now turn 
 the latter upside down and by means of a handkerchief 
 or a piece of clean cloth, we proceed to clean the glass 
 side of the negative. This is done most effectively by 
 bieathing upon the glass and then rubbing it vigorously. 
 Sometimes the emulsion gets spattered on the glass side 
 of the negatixe and this will have to be removed with a 
 knife, as it adheres very firmly. 
 
IN THEORY AND PRACTICE. lOp 
 
 Printing, as a rule, should alwa3's be done in the shade, 
 aUhough it is often done in the bright sunlight. Prints 
 made in the shade have more vigor and contrast than 
 those made in the sun and the film on the paper is less 
 liable to become brittle and crack when handled in the 
 subsequent operations of washing, toning and fixing 
 As a rule printing should be done in the open air and a 
 small platform on the window sill can very easily be fitted 
 for this purpose. During bright weather a north window 
 should be used but if the day be cloudy a south expos- 
 ure is preferable. The frame should be placed with the 
 negative turned towards the sky and care must be exer- 
 cised that no shadow from the roof or trees fall upon the 
 glass. The print may be examined from time to time by 
 releasing one spring and half of the cover and raising 
 the print from the negative. The depth to which we 
 shall print must be governed entirely by the paper we 
 are using. 
 
 Printing papers are divided into two separate and dis- 
 tinct kinds, known as " printing out " and " developing 
 papers." In the former the image is visible on the paper 
 in a very short time after it has been exposed to the 
 light but in the latter the image is either very faint 
 indeed, or is not visible at all until after development. 
 Plain silver papers, blue prints, albumen, gelatine and 
 collodion papers belong to the first type and they are 
 are printed until the image is fully as strong or stronger 
 than required in the finished print. Bromide, Velox, 
 
110 MODERN PHOTOGRAPHY 
 
 and other papers of this type belong to the second class 
 and no image appears on them until after development. 
 Bromide papers must only be handled in the red light 
 of the dark room as they are very sensitive. They are 
 usually printed by artificial light, although printing may 
 be affected by a very short exposure to subdued natural 
 light. Even printing out papers should not be exposed 
 except in subdued light until after they have been 
 placed in the printing frame. 
 
 Printing frames should never be placed inside a window 
 until after the glass, both inside and outside has been 
 thoroughly cleaned, for any splashes of dirt upon the 
 window glass will shade the light from that portion 
 of the print and the result will be a light patch on 
 the print. 
 
 There is an old adage which says, " Cleanliness is 
 next to godliness" and equally true is it m photography 
 that cleanliness is next to success. One of the most 
 important things to be clean with in photography is the 
 trays used in the toning room. Trays can be bought of 
 any size and of all kinds, from your dealer, at reason- 
 able prices and there is no excuse for having bad trays. 
 Bad trays are very expensive things and cause the 
 loss of many dollars worth of time and stock. Trays 
 should always be large enough to enable one to wash 
 prints without tearing. All trays should be thoroughly 
 cleaned before using, by scouring with bicarbonate of 
 soda and rinsing well with clear water. 
 
IN THEORY AND PRACTICE. Hi 
 
 Aristo Papers. 
 
 The various printing out papers manufactured by tht 
 American Aristotype Company, Jamestown, N. Y. and 
 generally known as Aristo, are pure collodion papers. 
 Papers of this class have a tendency to curl as soon as 
 they are placed in w^ater and a hint as to how to prevent 
 this may be timely at this juncture. 
 
 A large, smooth- bottomed tray is used and about one- 
 half inch of water placed in it. The prints are now 
 taken and placed in this water one at a time by sliding 
 them in, one on top of the other and keeping them 
 flat on the bottom. Be sure a print is thoroughly 
 wet before another is placed on top of it. The prints 
 should not be placed in the tray in a regular pile, as this 
 allows the edges to curl over each other but should be 
 piled irregularly well over the bottom of tray, partially 
 covering one another. After all prints are in, pour off 
 water and put on fresh water; keep prints flat and rock 
 the tray for five minutes (this will prevent red streaks). 
 Pour off water and press them down with the flat of the 
 hand, allowing all the water to drain out. Now, stand 
 the tray on edge and allow the prints to drain for five 
 minutes. Then pour plenty of water over them and 
 proceed to wash by separating the prints and handling 
 them over and over. 
 
 The reason why collodion paper curls toward the film 
 m the water is because the paper which is coated swells 
 
TI2 MODERN PHOTOGRAPHY 
 
 as soon as it is wet and the film does not. If the print, 
 when first placed in the water, is held flat, then the paper 
 swells in thickness only and if the print is kept flat 
 until the paper is thoroughly soaked in this position, it 
 will remain flat during the entire manipulation. There- 
 fore it is important to keep the prints flat in the first 
 water. In summer use tap water and in winter temper 
 water, so it will be pleasant for the hands to work in, 
 say, 65 to 70 degrees. 
 
 Toning Blue Label and Junior Aristo. 
 
 Print about two shades darker than desired when 
 finished. Flatten the prints as directed for collodion 
 paper and then wash through six changes of clear water, 
 handling the prints over each time, then tone in the fol- 
 lowing bath: 
 
 Water 60 oz. I Sat. Solution Acetate Soda — V4 oz. 
 
 Salt 6ogr. ' Chloride of Gold i dram. 
 
 Sal Soda or Borax, enough to turn red litmus paper blue in 4 or 5 minutes. 
 
 Make this bath up from one to two hours before use. 
 Add gold enough to keep speed of bath six or eight 
 minutes. Tone in this bath to any point you desire 
 prints when finished. After toning, place in clear water- 
 When ready to fix, rinse thoroughly through two clear 
 waters. Fix in plain hypo, fifteen grains hydrometer 
 test, for fifteen minutes, wash one hour in running water. 
 Mount with any good fresh paste and lay out to dry 
 quickly. In cold weather always temper all water to 
 
IN THEORY AND PRACTICE. II3 
 
 about sixty-five or seventy degrees. The salt in the 
 toning bath restrains the high lights from overtoning 
 and brings the high lights and shadows up clear at the 
 same time, also saving the fine detail in white drapery. 
 If you are not using it, try it and you will not be with- 
 out it Acetate of soda is a neutral salt and you need 
 not be afraid that it wall make bath alkaline. Muddy 
 shadows and yellow whites and lack of brilliancy mean 
 that your bath is too alkaline. Blue edges to the vig- 
 nettes and bleaching in toning bath, signify an acid 
 bath. Remedy, add a few drops of alkali. 
 
 Double Toning. 
 
 Aristo platino paper should be printed plain, as a gen- 
 eral thing. Print until the high lights are well tinted. 
 Pay no attention to the shadows, no matter how much 
 they bronze. Wash through six changes of clear water, 
 handling prints over each time. In washing paper, there 
 are two things we must eliminate, the free silver and the 
 keeping chemicals and unless prints are thoroughly 
 prepared for toning, they will not tone thoroughly and 
 evenly. 
 
 When prints are thoroughly washed, tone in the fol- 
 lowing bath, to a purple, not a blue: 
 
 Water 60 oz. 
 
 Salt. 60 gr. 
 
 Chloride of Gold i dram. 
 
 Borax enough to turn red litmus pa- 
 per blue in 3 or 4 minutes. 
 
 The gold toning bath should be made up from one to 
 two hours before use. Add enough gold so the bath 
 
114 MODERN PHOTOGRAPHY 
 
 will tone in from six to eight minutes. Do not run the 
 bath too strong, as the print will tone before the whites 
 clear up. If prints show bleaching in the whites, add a 
 little more alkali. An acid toning bath bleaches out the 
 detail in the whites and also makes pink whites in the 
 finished print. If the bath is too strong in alkali it gives 
 yellow whites. 
 
 The character of platinum tones is controlled in the 
 gold bath. If prints are taken from the gold hatha cho- 
 colate brown, they will make beautiful olive tones. 
 Prints toned to a purple will make black tones and prints 
 toned to a blue will make blue-black tones. By bearing 
 !his in mind, it is possible to get any tone desired. 
 Always, in every case, tone far enough in the gold bath 
 io thoroughly clear the whites. After toning, throw 
 prints into the clear water until all are toned. 
 
 Wash prints in three changes of clear water by 
 handling them over. Do not try to wash by placing in 
 running water. It will not do it. It is very important 
 to wash prints thoroughly after they come from the gold 
 bath, to remove any free gold that may be on the prints, 
 as gold precipitates platinum and unless prints are well 
 washed, the platinum will be precipitated on the bottom 
 of the tray and not on the print. Again, never use the 
 regular gold toning tray for platinum bath, as all such 
 trays have more or less gold deposited on bottom and 
 sides and this will precipitate your platinum also. It 
 will not only waste platinum but prints toned through 
 
IN THEORY AND PRACTICE. I I 5 
 
 both baths in the same tray will tone down to a muddy 
 blue-black and if kept in long enough, the whites turn 
 yellow. 
 
 The Platinum Toning. 
 
 When prints are washed, tone in the following bath: 
 Water, sixty ounces; platinum, three to five drams. Add 
 platinum enough to keep speed of bath from eight to fif- 
 teen minutes. The great mistake that photographers 
 have made in toning Aristo-Platino with platinum is, 
 they have not toned long enough in the plat- 
 inutn bath. When prints first go into this bath, the 
 whites become muddy but in a short time the whites 
 commence to clear up and by keeping prints in this bath 
 until the whites are thoroughly clear and every trace of 
 brown or purple is out of the deepest shadows, by 
 looking through the print you will get most beautiful 
 effects. Do not be afraid of leaving them in the platinum 
 bath until the desired color and richness you wish is 
 obtained. 
 
 When prints come out of the platinum bath, it is very 
 important to wash them thoroughly through three changes 
 of water before fixing, because the platinum bath is ex- 
 tremely acid and it is absolutely necessary to wash it 
 out of the prints. If you do not, you carry it into the 
 hypo and produce sulphuration and yellow whites. 
 This is the reason that all hypo baths containing 
 lots of alum or acid hardeners are dangerous, as this 
 
Il6 MODERN PHOTOGRAPHY 
 
 atid releases the sulphur in the hypo and produces sul- 
 phuration in the print that will ruin them sooner or 
 later. 
 
 After prints are washed, fix in plain h3po, eighteen 
 grains strong, hydrometer test, for fifteen minutes and 
 then wash by hand through two or three changes of 
 water before placing them in running water one hour. 
 Always mount with good fresh paste and lay out to dry 
 quickly. When dry run through a cold roll burnisher, if 
 you have one, to straighten mount. One-half the old 
 platinum bath with one-half fresh bath added and used 
 over the next time, makes richer tones than a new bath. 
 
 Any red spots on platino paper can be removed by rub- 
 bing some of the stock platinum solution on the spot with 
 the finger as tne print goes in the platinum bath. The 
 spot darkens and the rest of print tones up to it. There 
 is no necessity for losing prints from red spots. 
 
 Sepia Tones on Platino. 
 
 No. I. To make sepia tones, print about two shades 
 darker than desired when finished. Wash through two 
 changes of clear water. Then place prints in a strong 
 salt solution, two ounces of salt to a gallon of water. 
 Keep in salt water for five minutes until they redden up. 
 Then wash through two more changes of clear water and 
 tone in the following bath: 
 
 Water to oz. 
 
 Chloride of Gold 14 dram.- 
 
 Sal Soda enough to make red litmus paper turn blue in ten minutes. 
 
IN THEORY AND PRACTICE. II7 
 
 Work this balh just slightly alkaline. Just clear the 
 whites and place in stop solution of salt water and fix in 
 ten grain hypo bath (to which add a handful of salt) for 
 fifteen minutes. If prints look yellow in fixing bath, they 
 will come out all right in the washing and drying. 
 
 No. 2. Print about two shades darker than desired 
 when toned. Wash through five changes of clear water 
 and tone in a plain gold bath. 
 
 Water 6ooz. 
 
 Chloride of Gold \^ dram. 
 
 Work this bath just slightly acid. Keep prints in the 
 bath just long enough to clear the whites, then place in 
 clear water and wash through one water. To the same 
 gold bath, add another half dram of gold. Now add 
 alkali enough to turn red litmus paper blue in a couple 
 of minutes. Place prints back in this bath and tone the 
 shadows to the point you desire when finished. When 
 toned, place in clear water and fix in a plain hypo bath 
 twelve grains strong for fifteen minutes. All paper for 
 sepia tones should be at least 30 days old. 
 Double Toning Troubles. 
 
 Pink whites are caused by not having the gold bath 
 alkaline enough. Yellow whites may come from prints not 
 being toned far enough in the gold bath. Yellow whites 
 may come from trying to wash prints in running water, 
 between gold and platinum baths or between platinum 
 bath and hypo. This will not do. Prints must be washed 
 by hand and the water changed. 
 
Il8 MODERN PHOTOGRAPHY 
 
 Weak looking prints very often come from not print- 
 ing dark enough. Try three prints, one as you have 
 been printing, the second a shade darker, the third darker 
 still; tone them all out, select the best and you have the 
 depth to print. Weak looking prints more often come 
 from improper toning in the gold bath than any other 
 cause. Always tone in the gold bath until the shadows 
 are a warm brown (for olive tones). If your whites 
 have cleared and are in danger of bleaching, add more 
 alkali to hold back the whites until the shadows tone. 
 Never take them out a brick red in the shadows. If 
 you do, you are in danger of having weak, muddy 
 shadows and a dirty olive tone out of the platinum bath. 
 If you desire rich, strong shadows out of the platinum 
 bath, 3'ou must have .rich, strong shadows out of the 
 gold bath. Weak shadows are also caused by not using 
 the salt in the gold bath. 
 
 Slow toning in platinum bath is often caused by 
 not using the proper kind of phosphoric acid in 
 making up the platinum toning solution. Only use 50 
 per cent or U. S. P. phosphoric acid. You cannot be 
 too careful. Too slow toning in the platinum bath is 
 very often caused by the water which you use, for very 
 alkaline water precipitates the platinum. See remarks 
 on the water on page 129. Rubbed places on the 
 face of the prints which do not show until the prints 
 are dried, are caused by rubbing the face of the 
 prints on the bottom of the tray during washing 
 
IN THEORY AND PRACTICE. Up 
 
 and toning. When you have this trouble, handle the 
 prints face up. 
 
 Single Toning. 
 
 Many photographers, thinking that the single toner is 
 a combined bath, in which prints are fixed and toned at 
 the same time, have condemned it without a trial. This 
 is a mistake, as prints are toned first and then fixed. We 
 will try and briefly explain the simplest a«d easiest 
 manner of working Aristo Platino and Junior in the 
 single toner. 
 
 The printing should be fully as dark as for double ton- 
 ing; print until the high lights are well tinted. Pay 
 no attention to the shadows, no matter how much they 
 bronze. Too light printing gives weak and bleached 
 looking prints when finished. Prints should be washed 
 in eight changes of clear water before toning, to thor- 
 oughly remove all free silver. Handle prints over in 
 each wash water; letting prints lie in the ruuing water 
 for half an hour without handling is not so good, as some 
 prints will not thoroughly wash. 
 
 Toning Bath. 
 
 After washing tone in the following bath: 
 
 Water 32 oz. 
 
 Single Toner 2 draniB. 
 
 Platinum I dram. 
 
 Prints should be toned in this bath until all trace of 
 of red has disappeared from the deepest shadows. If the 
 toning is not carried fully this far, you will not get pure 
 whites, or clear shadows but prints will come out after 
 
I20 MODERN PHOTOGRAPHY 
 
 fixing a dirty, muddy, green color, with no brilliancy. 
 Throw prints from toning bath into clear water until all 
 are toned. Then wash in four changes of clear water, 
 handling prints over in each wash water to thoroughly 
 eliminate all acid before fixing. Then fix in a plain 
 hyposulphite of soda bath, eighteen grains strong to the 
 ounce, hydrometer test, for twenty minutes, handling 
 prints during fixing to insure perfect results. After fix- 
 ing, wash in ten to fifteen changes of clear water, or one 
 hour in running water, handling prints over occasionally 
 to insure thorough washing. 
 
 In toning Aristo Junior in the single toner for olive- 
 black tones, it is handled just the same as Arigto Platino, 
 with the one exception, flattening the prints in the first 
 wash water, as described on page iii. In handling 
 Aristo Junior and toning in the single toner, print fully 
 as dark as for Aristo Platino. The prints will tone 
 some slower than Platino, owing to the heavier gloss 
 surface but when finished and burnished with a hot bur- 
 nisher, will turn a beautiful, rich, olive-black print, equal 
 to any gloss carbon made, fully as permanent and much 
 finer than any gold tone print. 
 
 Some Things to Remember. 
 
 I. In many places the water is impure and red spots 
 make their appearance. In trouble of this kind, add to 
 every gallon of the first wash water, three ounces of a 
 saturated solution of sal soda. Handle prints over in 
 
IN THEORY AND PRACTICE. 121 
 
 this water five minutes. It will do very little good in 
 any but the first wash water. 
 
 2. If prints when put into the toning bath Weach or 
 cut out the high lights, spoiling the delicate half tones, 
 the addition of from one to two drams of platinum solu- 
 tion to the toning bath will remedy the trouble. 
 
 3. Your toning bath can be strengthened by add- 
 ing two drams of platinum solution and one dram single 
 toner, always watching your bath to see that it is 
 working right. 
 
 4. When bronzing shows in the shadows after prints 
 are finished, the best remedy found is the sal soda in the 
 first wash water. It softens the emulsion enough to 
 allow the silver to wash out more freely in the heavy 
 shadows, as well as allowing the toning bath to penetrate 
 the same and thus remove the trouble. 
 
 5. The best results are obtained by using fresh toning 
 bath every time. In no case, ever use more than one- 
 third old bath over. 
 
 6. To remove red spots on prints toned with single 
 toner, dilute the stock single toner solution with equal 
 parts of water and apply to spot, but not until print is 
 fully toned. 
 
 7. Prints should be thoroughly washed in four changes 
 of water after toning, before fixing, as the toning bath is 
 very acid and if this is carried into the fixing bath it is 
 liable to cause muddy whites and prints with no bril- 
 liancy. 
 
122 MODERN PHOTOGRAPHY 
 
 8. Never use the platinum tray for anything but single 
 toner and platinum toning. 
 
 9. All wash waters and toning baths should be 
 kept in a temperature of 65 or 70 degrees during cold 
 weather. 
 
 10. Last but not least, use judgment in all your work 
 and do not condemn toning solutions, paper, etc., just 
 because you do not have success at first; remember that 
 others are working them successfully and you should be 
 'ible to do the same. 
 
 Gold Toning Baths. 
 
 In toning in the gold bath, it is important to watch 
 several points. One is to see that the high lights and 
 shadows are both toning equally. It is a good plan to 
 look through the print by transmitted light and if you 
 find the same tone as appears on the surface, you are 
 toning down in the emulsion and your tones will hold in 
 the hypo bath; but if the print looks purple on the face 
 and when you look through it, the shadows look red, 
 you can depend upon it you are getting a surface tone 
 and when the print goes into the hypo the surface tone 
 will cut off and you will have the tone you are looking 
 through. The reason is, you have not washed all the 
 free silver off your print. Your gold is depositing in 
 this free silver and when the print goes in the hypo 
 bath, the free silver cuts off and takes your tone with 
 it. By the use of salt in your gold bath, you avoid 
 
IN THEORY AND PRACTICE. 1 23 
 
 this. The salt also restrains the high lights from over- 
 toning and enables the shadows to tone up at the same 
 time. The salt also saves the fine detail in white drapery. 
 
 Should you find, in toning, your whites are bleaching, 
 it is because your bath is not alkaline enough, so add a 
 few drops of alkali. On the other hand, if your prints re- 
 fuse to clear up and tone out dead and flat, it is because 
 your bath is too alkaline, in which case add a little acid 
 gold or a drop of citric acid. Intoning Aristo Platino pa- 
 per, if you do not have your gold bath alkaline enough, 
 you will get pink whites in the platinum bath. Always 
 remember that pink whites mean that your gold bath 
 was not alkaline enough. 
 
 It is impossible to give the exact amount of alkali to 
 use. Almost all waters are alkaline. The litmus paper 
 test must guide you in this. Study and test the water 
 you work with and you will not have any trouble making 
 nice prints. All gold baths should be made up from one 
 to two hours before use and a good plan is to make up a 
 fresh bath for next time, after you get through toning, 
 only adding about a grain of gold and then when ready 
 to tone, adding the gold to tone with. A ripened bath 
 will work much smoother than a fresh one. Many print- 
 ers like to use one-half old and one-half new bath. 
 Acetate of soda will not have any effect on a toning 
 bath, unless added one hour before use. Acetate of soda 
 will always keep your tone rich and brilliant. In 
 making up a gold bath, remember that neutralizing with 
 
124 MODERN PHOTOGRAPHY 
 
 sal soda gives warm tones, borax gives brown tones, and 
 bi carbonate soda gives purple tones. Borax is generally 
 used because it is the weakest alkali and a few drops 
 more or less will not get one into trouble as quickly as 
 the stronger sodas do. In some waters it is best to use 
 sal soda as an alkali for the gold bath, as borax may 
 give muddy shadows. If borax is found to give this 
 result, you should try sal soda; but remember that sal 
 soda is a very strong alkali and should be used 
 very cautiously. When the water you use is alkaline 
 it is best to use a very acid gold and acidify your 
 toning bath first. Then add borax or sal soda to bring 
 it up to alkaline. The reason for this is, that the 
 alkali found in the water is a lime alkali and is not the 
 proper kind of alkali to use and will not give you 
 satisfactory tones. 
 
 Platinum Toning Bath. 
 
 The formula gives sixty ounces of water and three to 
 five drams platinum solution. Of course, it depends on 
 how many prints there are to tone. So the best formula 
 to follow will be to place enough water in the tray you 
 expect to use and add about three drams of platinum 
 solution to start on. The speed of this bath should he 
 from eight to fifteen minutes. If necessary add more 
 platinum until you get it, for it is platinum and not water 
 that tones. A print slightly toned in the gold bath will 
 take more time and platinum to tone in the platinum 
 
IN THEORY AND PRACTICE. I25 
 
 bath. If a print be left very warm in the gold bath and 
 toned hard in a strong platinum bath, it will be a strong 
 olive, as overtoning with platinum gives greenish or olive- 
 black. If you tone to purple and deposit a good lot 
 of gold on the print, it takes less platinum and time 
 to tone and will remain a pure black. Too slow toning 
 in the platinum bath flattens the whites and has a ten=- 
 dency to muddy the shadows. The platinum bath is very 
 acid. Only use one-half to two-thirds old bath over. If 
 you use all the old bath over and all the acid is left in the 
 old bath and you keep adding fresh platinum solution, 
 you will get it too acid and are in danger of cutting out 
 
 your prints. 
 
 Hypo Bath. 
 
 In makmg up the hypo bath, always use the hydrome- 
 ter to test it. For Junior and Blue Label use fifteen grains 
 hypo and fix fifteen minutes. For Platino paper, use 
 eighteen grains hypo bath. If you wish to fix Junior and 
 Platino together, make the hypo bath fifteen grains 
 strong and fix fifteen minutes. A thoroughly fixed print 
 is easily washed; but too long fixing is as bad as too 
 little, as it bleaches your prints and destroys their 
 brilliancy. 
 
 Washing Prints. 
 
 After all prints come from the hypo bath, it is neces- 
 sary to handle them through at least two waters by hand, 
 before putting them in running water or the washing 
 box. By doing this you wash oft the surface hypo and 
 
126 MODERN PHOTOGRAPHY 
 
 also little air bubbles that sometimes fasten themselves 
 on the print and hold the hypo under them, allowing it to 
 go on bleaching, thereby getting little white spots on the 
 prints when they came from the wash water, that were 
 not there when they were fixed. After two waters by 
 hand, one hour in running water, or ten to twelve changes 
 by hand, is sufficient washing. 
 
 Red spots on paper can come from a number of 
 causes. The most common forms are finger marks, bub- 
 bles and preservative chemicals still in the paper. When 
 from finger marks, they can be easily recognized. When 
 the spots are round or oblong and have defined edges, 
 they are from bubbles and can be avoided by sliding 
 prints in the first water and knocking them off. If the 
 red spots are uneven and scattered over the paper, or 
 if the prints act as though they were greasy when they 
 are in the washing water, the trouble comes from oil or 
 grease, which may come from the hands, trays, or water. 
 This trouble can be overcome in both Platino and Junior 
 paper by adding three ounces saturated solution of sal 
 soda to the first water prints are placed in (3 oz. satura- 
 ted solution of sal soda to each gallon of water), hand- 
 ling prints over in this water for five minutes. This alkali 
 cuts off all oil or grease on the printsand neutralizes the 
 acid preservative chemicals in the paper, the six changes 
 of clear water afterwards washing out all traces of the 
 alkali and bringing your prints up to the gold bath in a 
 perfectly neutral condition. If you finfl 3 oz. saturated 
 
IN THEORY AND PRACTICE. 12^ 
 
 solution of sal soda is not enough, put in a couple more 
 or enough to do the work. 
 
 When paper prints brown or muddy-looking in the 
 winter, the paper is too fresh and should be put in a 
 warm place (near a radiator) for a few days. Paper 
 treated in this way will soon print a rich red color. 
 Fresh paper must be printed darker than old paper. 
 When paper prints a weak red color in the shadows 
 during cold weather, it is because it is chilled and the 
 chemical action does not take place freely. Always 
 print in a warm temperature if you wish the best results. 
 In the winter, paper thirty days old is much better than 
 very fresh, older paper giving stronger and richer prints 
 than fresh paper. Bronzing in the shadows is generally 
 caused by not toning the shadows properly in the gold 
 bath first and not far enough in the platinum bath after- 
 wards. Blisters are caused by a change of temperature 
 in the baths or water and they usually come in the hypo 
 or afterwards. Adding fresh hypo will reduce the 
 temperature of the water. Putting the prints in cold 
 hypo bath and from there into warmer water again 
 is what brings on blisters. It can be helped by throw- 
 ing prints in a salt water bath after hypo, but the best 
 plan is to temper the hypo or keep it in a saturated form 
 and reduce it as you need it. Another plan is to 
 gradually reduce the hypo bath by pouring off part 
 of it and adding water, repeating until down to clear 
 water. 
 
128 MODERN PHOTOGRAPHY 
 
 When sodas come from chemical works in crystal 
 form, they contain a very large percentage of water of 
 crystalization and the conditions under which they are 
 kept have a great deal to do with their strength. If 
 they are kept in a warm dry place, the water of crystali- 
 zation dries out and they become much stronger. When 
 sodas are weighed by scales, you can never tell anything 
 about them. Always test all sodas in solution by hydro- 
 meter. It is well to often test your hydrometer by wash- 
 ing thoroughly and filling with plain water. If the 
 stem stands at zero in the water, it is O. K. If it sinks 
 below and tests stronger, it is "off;" to remedy, tap 
 the small end of the hydrometer on a board and jar the 
 paper in the stem down. Keep testing it until it is at 
 the right point. 
 
 One of the most important things in a ton.ng room is 
 litmus paper. Only buy the best, put up in glass tubes. 
 Never allow any one to sell you a litmus paper that has 
 a hard, solid body. Always use a soft litmus paper 
 that the solution can take hold of at once. Use red 
 litmus paper to test for alkali and blue litmus paper 
 to test for acid. The length of time it takes to turn red 
 litmus paper blue, or blue litmus paper red, will denote 
 how strongly alkali or acid the solution is. Always 
 keep in well stoppered bottles, as light or air will affect 
 the sensitiveness of the litmus paper; and never mix the 
 blue and red. 
 
IN THEORY AND PRACTICE. 1 29 
 
 Water. 
 
 The water we use is cf the greatest importance and 
 there is entirely too little attention given to it. Afier 
 having tried the water over the larger part of the United 
 States, we find lime, magnesia, plaster paris, sulphur, 
 iron and many other things contained in the water we 
 use. When we remember that toning and developing 
 are very delicate chemical operations, it is a source of 
 wonder that the results obtained are as good as they are. 
 When a gold bath is made with water that is strongly 
 alkaline the prints will be muddy and flat and lack brilli- 
 ancy and in the platinum bath the results are even 
 worse, precipitating the platinum, causing slow toning 
 and a waste of materials. In the hypo bath it is often 
 the cause of yellow whites. It is very important that 
 we clear the water of these chemicals as far as possible, 
 if we desire to obtain the best results. A very simple 
 and easy way to do this is to get an empty whiskey or 
 alcohol barrel, remove the head, clean thoroughly and 
 fill with water. Dissolve a teaspoonful of ground alum 
 in a cup of hot water and pour in the barrel of water. 
 Stir thoroughly and allow to settle for 24 hours. Use 
 this water for first washing, for baths and all washing 
 between baths until after the prints come from the hypo, 
 when they may be washed in the regular tap water. 
 There is very little water west of the Mississippi River 
 that could not be improved by this treatment, especially 
 where it comes from artesian wells. When water is 
 
130 MODERN PHOTOGRAPHY 
 
 heavily charged with magnesia or iron, it is best to use 
 other water until prints are out of the hypo. Any 
 trouble you may go to in your efforts to obtain pure 
 water will pay you a hundredfold in time, material and 
 results and this means money. 
 
 Kirkland's Lithium Paper. 
 
 This is a glossy gelatine printing-out paper, which 
 is extensively used both by amateurs and professionals. 
 Print it quite dark. This paper, like most of the print- 
 ing out varieties, may be toned either in a combined or 
 a separate toning bath. A combined bath is one in which 
 the print is toned and fixed in one bath. We advise all 
 amateurs to shun combined baths. Most combined baths 
 contain acetate of lead and the results are not perma- 
 nent and in a few months or a year or perhaps several 
 years, your pictures begin to turn yellow in the high lights 
 and gradually fade until nothing is left of them. We 
 strongly recommend the use of a separate bath for all 
 printing-out papers and the general directions given 
 under the head of Aristo papers, in regard to thorough 
 fixing and long and careful washing, applies to nearly all 
 of this class of papers. Lithium paper should be thor- 
 oughly washed and then toned in any alkaline toning 
 bath. It may seem superfluous to many to describe how 
 to test a bath, but on investigation we tind that many 
 amateurs do not understand what an acid or alkaline 
 bath is, or how to ascertain what your bath is. Procure 
 
IN THEORY AND PRACTICE. I3I 
 
 some red litmus paper from your dealer. It is put up 
 in glass tubes or vials. Take a small strip and dip it 
 in the solution. If the red litmus paper turns blue im- 
 mediately, then your bath is very alkaline; if it remains 
 red, then your bath is acid. If it turns blue slightly and 
 the blue can only be seen after the paper is dry, then it 
 is only slightly alkaline. To make it alkaline, gradually 
 add sal soda or borax to the bath until the litmus paper 
 shows, by turning blue, that it has become alkaline. 
 Never guess at it and do not add too much alkali. Acid 
 or neutral baths produce red or sepia tones, while alka- 
 line baths produce darker tones, depending on the 
 amount of alkali and gold used and the length of time 
 the toning is continued. The manufacturers of Lithium 
 papers recommend the following 
 Toning Bath: 
 
 Borax >4 oz. 
 
 Distilled Water. 16 oz. 
 
 To tone, take one ounce of this stock solution to two grains of chloride of gold 
 and sixty ounces of water. 
 
 This bath should be prepared one hour before using. 
 Sulphate of soda may be used in the same proportion as 
 borax for making the stock solution. Test the bath by 
 toning one picture. If the result is a red or undesirable 
 tone, add the alkaline stock solution and let the bath 
 stand a few minutes longer. Keep the prints in constant 
 motion in the toning bath, taking those from the bottom 
 and placing them on top. If you allow prints to remain 
 one on top of the other, the result will be red streaks. 
 
132 MODERN PHOTOGRAPHY 
 
 The length of lime thai prints are toned depends largely 
 on -the tone desired. If a dark tone, bluish-black in 
 shade is desired, allow the prints to tone until the high 
 lights turn just a trifle blue. Now fix for ten minutes in 
 
 Fixing Bath. 
 
 Water 64 oz. 
 
 Hypo 2 oz. 
 
 Powdered .-Mum H oz 
 
 Salt J^oz. 
 
 Keep your prints well separated in the fixing bath 
 and turn them often, as you do in the toning bath. Now 
 wash your prints thoroughly in running water for about 
 one hour and they are ready to finish. 
 
 In hot weather the following hardening solution is 
 
 recommended : 
 
 Hardener. 
 
 Warm Water 64 oz. I Sulphate of Soda 8 oz. 
 
 Borax 6cz. Powdered .Mum 16 oz. 
 
 This hardener is used prior to toning and washing. 
 Use one ounce of the hardening solution to ten ounces 
 of water and immerse the prints and keep them in mo- 
 tion for about five minutes. This paper is made by the 
 Kirkland Lithium Paper Company, Denver, Colo. 
 Delta Matt. 
 
 This is a collodion paper, manufactured by the New 
 Jersey Aristotype Company, Bloomfield, N J. With 
 this paper you print very deep, or until the high lights 
 are considerably tinted. The prints are then washed in 
 about four changes of water to remove the free silver. 
 The prints are then placed in the following toning bath: 
 
IN THEORY AND PRACTICE. 1 33 
 
 Toning Bath. 
 
 Water 60 oz. 
 
 Chloride of Gold 2 gr. 
 
 The toning bath is then made slightly alkaline. For 
 olive black effects continue to tone until the high lights 
 are clear, allowing the shadows to remain warm. For 
 black and white effects extend the toning a little further, 
 but be careful not to overtone or the result will be a 
 blue or gray picture. Now wash the prints in two 
 changes of water and tone in 
 
 Platinum Bath. 
 
 Platinum Solution „ adrs. 
 
 Water 60 oz. 
 
 This bath should be made up two or three hours be- 
 fore it is required for use. Continue in this bath until 
 the desired tone is reached and then transfer directly to a 
 
 Short Stop. 
 
 Carbonate Potassium Saturated Solution 2 drs. 
 
 Water 64 oz. 
 
 Now wash prints slightly and transfer to 
 Fixing Bath. 
 
 Hypo, Sat. Solution I oz. 
 
 Water 12 oz. 
 
 Wash thoroughly in running water for say one hour, 
 and your prints are ready. 
 
 There are so many printing-out papers now on the 
 market that it would be impracticable to give directions 
 for printing and toning all of them* and as the various 
 gelatine and collodion papers require the same or nearly 
 
 •Progressive Lessons in Photography, Part HI, describes all the Printing 
 Papers on the market and how to work them. 
 
134 MODERN PHOTOGRAPHY 
 
 the same treatment, it would simply be a repetition of 
 what we have already said. We will therefore call the 
 attention of the amateur to another class of printing-out 
 papers known as 
 
 Blue Prints. 
 
 Although this is the simplest paper to work it should 
 not by any means be despised, as with a good landscape 
 or marine negative very beautiful effects may be secured 
 and if a good article is purchased the resulting prints are 
 permanent. 
 
 No chemicals of any kind are used for toning these 
 prints. The paper is usually a light green on the 
 sensitized side and should be handled as above described. 
 With this paper the printing should be done in direct 
 sunlight, as the paper is not particularly sensitive and 
 printing in the shade would take considerable time. 
 Print until the high lights of the picture begin to appear 
 somewhat muddy, then remove from the printing frame 
 and place the print in a tray or bowl of water face down- 
 ward and allow it to remain there until the white por- 
 tions of the picture are quite clear. The prints should 
 be in slowly running water about ten minutes and may 
 then be taken out and laid face upward on a piece of 
 glass or ferrotype plate until dry. The result will be a 
 beautiful deep blue picture on a pure white ground. 
 
 Blue prints are improved by the addition of a liberal 
 white margin around the negative. This can be effected 
 as follows; 
 
IN THEORY AND PRACTICE. I35 
 
 Take an 8 x lo printing frame and in it place an 
 8 X lo clear glass which has been thoroughly cleaned on 
 both sides. Such a glass can be secured at any supply 
 house, or some friend who uses 8 x lo plates can doubt- 
 less furnish you with one or two old negatives from 
 which the emulsion can be cleaned off by means of hot 
 water and a nail brush. Place this glass in the printing 
 frame and cut a piece of red express or black paper, 
 8 X ro inches, that will just fit in the frame. Select the 
 negative that you propose to print, examine it carefully 
 and determine just what portion of it you wish to show 
 in the finished print. A 4 x 5 negative will generally 
 make a 3^ x 4^ print. Find the center of your black 
 paper and cut in it an opening 3^ X4^ inches. Place 
 your 4x5 negative on the plain glass in the center of 
 the printing frame in such a way that when the black 
 matt is laid over it the portion of the negative which you 
 wish to print will show through the opening. When 
 you have placed your negative in the correct position it 
 may be held there by two narrow strips of gum paper. 
 Having placed your black paper over your nejjative 
 you now lay a sheet of 8 x 10 blue print paper upon it. 
 Put on the cover of the printing frame and expose in 
 sunlight. It is evident that the light will only affect 
 those portions of the paper which show through the 
 opening in the black paper and the result will be a 
 3-%^ X ^}4 blue paint in the center of an 8 x 10 sheet, 
 and if the negative was a good one the result will be 
 
136 MODERN PHOTOGRAPHY 
 
 worthy of a frame. Blue prints are not suitable for 
 portraits, or interiors or exteriors of houses and as before 
 stated your work on this paper should be confined to 
 marines and landscapes. 
 
 A great many formulas and processes have been sug- 
 gested for toning or changing the color of a blue print 
 to a dark brown or black but many of them produce 
 unsatisfactory results and stain the whites in the high 
 lights and we can only advise the foUow^ing: Take a 
 dampened blue print and float it printed side down on 2 
 per cent solution of nitrate of silver. This will cause 
 the image to almost entirely disappear and the print 
 should then be thoroughly washed for a few minutes in 
 running water and then toned or developed in the fol- 
 lowing bath: 
 
 No. I. I No. a. 
 
 Neutral Oxalate of Potash... i lb. Ferrous Sulphate J^ lb. 
 
 Distilled Water to 3 pints Sulphuric .■\cid 10 drops 
 
 I Distilled Water to 10 ounces 
 
 Of this take i]4 ounces of No. i. % ounce of No. 2, 
 and about ten drops of a ten per cent solution of Brom- 
 ide Potassium. Be sure and add No. 2 to No. i, but do 
 not pour No. i into No. 2, or you will spoil the solution. 
 The image will now gradually turn black and when it 
 has reached the desired color wash it again in running 
 water for a few minutes and then put it into a bath com- 
 posed of 
 
 Hydrochloric Acid i dram 
 
 Wafer lo ounces 
 
 and after allowing it to remain there a few minutes 
 
IN THEORY AND PRACTICE 137 
 
 remove and again thoroughly wash it in running water, 
 when it can be dried. 
 
 In the above formula we spoke of a 2 per cent solu- 
 tion of nitrate of silver and such expressions are often 
 found in books on photography without any accompany- 
 ing explanation and this makes it very confusing to the 
 amateur, as it may be understood by him in various 
 ways. Ordinarily among photographers, a 10 per cent 
 solution of bromide is understood to consist of 9 ounces 
 of water and i ounce of bromide. This from a chem- 
 ist's standpoint is all wrong and is not a ten per cent 
 solution by any means. Soluble salts are taken up by 
 water without increasing the bulk and we might take 
 10 ounces of water and stir into it i ounce of bromide 
 without perceptibly elevating the level of the water. 
 Suppose we want to make a 2 per cent nitrate of silver 
 solution and the total amount of solution required is 10 
 ounces, then we will proceed as follows: One ounce 
 contains 480 grains and 10 ounces will contain 480 mul- 
 tiplied by 10, or 4,800 grains. Two per cent of 4.800 
 grains is 96 grains and we would therefore weigh out 
 96 grains of silver and dissolve it in 10 ounces of water. 
 
 Blue print paper can be purchased very cheaply on the 
 market but it does not keep well for any great length 
 of time and the amateur might like to experiment in 
 making his own paper, which he can easily do as fol- 
 lows: Secure some sheets of good wove linen paper, or 
 any other paper having a smooth surface which is fairly 
 
138 MODERN PHOTOGRAPHY 
 
 heavy. Any good writing paper without the lines, or 
 what is known as laid water marks in it, will be found til 
 for the purpose. This paper should be held t'lrmly to a 
 drawing board and the surface coated with the follow- 
 ing solution: 
 
 No. 2. 
 
 No. I. 
 
 Citrate of Iron and Ammonia, 50 grs. 
 Water 4 drams 
 
 Red Prussiate Potash 32 grs 
 
 Water 4 dr;iiiis 
 
 Red prussiate of potash is also known as ferricyanide 
 of potassium, and these chemicals should all be what is 
 known as C. P., or chemically pure. Now pour into a 
 graduate the 4 drams of No. 2 and filter into a bottle by 
 placing a plug of cotton in the bottom of the funnel or 
 by means of filter paper. As soon as this is filtered 
 immediatel}^ follow it with the 4 drams of No. i, and add a 
 small quantity of bromide of potassium from the stock 
 solution. This bromide is added in order to make the 
 paper keep but if it is to be used at once the bromide 
 may be left out. The solution is applied to the face of 
 the paper by means of a very soft sponge or what is 
 known as a Blanchard brush. This brush is easily made 
 by taking a small strip of glass or wood, say two inches 
 wide b}' six long, and fastening over the end of it sev- 
 eral thicknesses of cotton flannel holding it in position 
 by means of a rubber band. If a sponge is used a small 
 stick should be tied to it for a handle, or it may be 
 mounted by securing a small piece of glass tubing, 
 say four inches long by one inch in diameter. Loop a 
 piece of hard twine around the sponge and pull the two 
 
IN THEORY AND PRACTICE. 1 39 
 
 ends of the string up through the glass tube and fasten- 
 ing them there. A small quantity of the solution should 
 be taken on the brush or sponge and the paper lightly 
 brushed from left to right, starting at the top, until you 
 have reached the bottom of the sheet. Now turn the 
 board around so that the lines we are about to make 
 will cross the others at a right angle and proceed to go 
 over the sheet in the opposite direction. In this way you 
 avoid streaks on your paper by filling in places in the 
 second application that were missed in the first. Your 
 paper can now be pinned up or hung up in the dark 
 room to dry. The operation of sensitizing blue print 
 paper can be done by lamp light but if performed in the 
 day time the operation would have to be confined to the 
 dark room or some place devoid of daylight. As soon 
 as the paper is dry it can be cut up in sizes to suit and 
 packed away carefully in strong light-tight envelopes. 
 
 In sensitizing for blue prints you will have to prepare 
 your solutions somewhat differently for different papers, 
 as a less amount of iron and ammonia will be required 
 on soft than a hard paper. V'ery beautiful effects may 
 be secured with blue prints by sensitizing light blue 
 writing paper, the result being a dark blue print on a 
 light blue ground. Other shades of paper may be sel- 
 ected but care must be exercised that the colors of the 
 paper are permanent and will not wash out when we 
 come to wash our prints. 
 
 Blue prints may be used advantageously for sketch- 
 
140 MODERN PHOTOGRAPHY 
 
 ing with India ink for making book illustrations, decora- 
 ting menus, etc. A blue print is first made from a neg- 
 ative of the article which you wish to illustrate. This 
 print is washed in water and dried. Now with water- 
 proof India ink, Higgins', or any other, proceed to draw 
 in over the blue lines and when the drawing is finished 
 bathe it carefully in a weak solution of potash and 
 water. A weak solution of condensed lye and water 
 will answer very well. Under the action of the potash 
 solution the blue will be dissolved and run away, leaving 
 the waterproof lines behind. The print should then be 
 washed carefully in several changes of water and dried 
 and you will have a clean-cut black drawing on a white 
 ground, which will reproduce nicely in the zinc etching 
 process. Fig. 35, and other illustrations in these pages, 
 are produced in this manner. 
 
 Ferrogallic Paper. 
 
 This paper gives a black print but is not so easily pre- 
 pared as blue print paper. Paper similar to that for blue 
 prints is secured and coated the same as blue prints but 
 with the following solution: 
 
 Gelatine iS grs. 
 
 Uistilled Water i oz. 
 
 Tartaric Acid iBgrs. 
 
 Cut up the gelatine in small pieces and soak in the 
 water for three hours. It is then heated until the gela- 
 tine assumes a liquid form and the acid, sulphate and 
 chloride added in the order named and the whole filtered 
 
 Ferric Sulphate iSfifs. 
 
 Ferric Ciiloride 30 grs. 
 
IN THEORY AND PRACTICE. I4I 
 
 while still hot. The coating is applied hot by lamp light 
 but the paper should be dried in the dark. It is printed 
 in sunlight until the image appears and is then toned or 
 developed in a solution consisting of 
 
 Water 2 ozs. 
 
 Oxalic Acid i gr. 
 
 Gallic Acid 4 grs. 
 
 The paper should be placed in a tray and this solution 
 poured upon it and rocked as in developing a plate. 
 The image will change gradually to black and the paper 
 is then removed and washed and given a bath of water 
 slightly acidulated with sulphuric acid, again washed and 
 the superfluous water removed with blotting paper. 
 Monocrome Paper. 
 
 Immerse a good quality of paper in a solution con- 
 sisting of 
 
 Bichromate of Potash »...75 grs. 
 
 Distilled Water 2'/2 ozs. 
 
 This should be done by lamplight. Dry the paper 
 thoroughly and then print for about ten to fifteen min- 
 utes in direct sunlight and then wash the print thor- 
 oughly in running water. To obtain a rich red print, 
 now place the print in a solution of chloride of tin, wash 
 and then place in a solution of hypernic wood. If a 
 black tone is desired substitute a solution of ferrous sul- 
 phate for the tin, wash and place in a solution of tannic 
 acido If an orange shade is wanted use first a solution 
 of nitrate of lead, wash and then place in a weak solu- 
 tion of caustic potash. The prints must be thoroughly 
 
142 MODERN PHOTOGRAPHY 
 
 washed between treatment by the various chemicals but 
 if the stream of the water is allowed to strike dirrxtly 
 on the print it may wash off the pigment entirely. 
 
 Uranium Paper. 
 
 Select a good paper and float it for a minute on the 
 surface of the following solution: 
 
 Uranium Nitrate 2$ grs. 
 
 Distilled Water i oz. 
 
 Curl the sheet of paper when floating, to expel the 
 air and avoid air bubbles. This should be done by lamp 
 light. The paper is now quickly dried in subdued lamp 
 light or in the dark room and it is ready for printing. 
 The coating is a weak brown in color and the printing 
 will appear as a chocolate brown. After printing, the 
 paper should be washed in running water but not in the. 
 stream. If it is now sponged with a solution of 
 
 Chloride of Gold agr". 
 
 Distilled Water i oz. 
 
 the result will be a deep violet print. 
 
 If, after printing and washing, it is put into a two per 
 cent solution of red prussiate of potash a fine red print 
 will be the result. If printed and washed and immersed 
 for a minute in a five per cent solution of cobalt nitrate 
 the result will be a green print and it should then be put 
 in the following solution, washed and dried: 
 
 Distilled Water i oz. 
 
 Sulphate of Iron 20grs. 
 
 Sulphuric Acid 16 drops- 
 
In theory and practice. 143 
 
 Of course in all instances the print must finally be 
 washed thoroughly before drying. 
 
 There are numerous other simple papers which the 
 amateur can prepare but we will not devote our atten- 
 tion to some of the staple goods on the market. Most 
 of the papers just described come under the class of 
 "prmting out papers," generally known as P. O. P. 
 
 Let us now consider some of the papers of the second 
 class, or "developing papers." 
 
 Bromide Paper. 
 
 These papers are made in various qualities, as thin, 
 thick and very thick and with various surfaces, as 
 smooth, rough and very rough. The artistic results of 
 the finished prints on bromide paper depend largely on 
 the negative selected for use and the particular paper 
 used on that negative. Negatives having a great mass 
 of detail will look better on the smooth than the rough 
 bromide, while open scenes, moonlights and marines 
 look better on the matt surface papers, according to our 
 idea. These papers are very sensitive and should 
 always be printed in the dark room. For this reason 
 they are favorites with amateurs who have little 
 time to print during the daylight hours. Light your 
 ruby lamp and handle the paper as you would a nega- 
 tive. The negative is placed in the frame and the coated 
 side of the paper in contact with the negative. Put 
 away the remaining paper carefully in the package. 
 
144 MODERN PHOTOGRAPHY 
 
 Measure off about 12 or 15 inches from your lamp on 
 the table ynd draw a line. The exact distance from the 
 lamp depends largely on its size, or the size of the 
 burner. Stand the printing frame upon the table with 
 the glass side of frame on this line. Hang your watch 
 up on a convenient hook or nail where you can see the 
 dial plainly by the red light. If it is an ordinary nega- 
 tive it will require from 10 to 15 seconds exposure with 
 a small burner in the dark room lantern. The best way 
 to test this is to cut a sheet in quarters and test a small 
 piece. When you have the time just right run over 
 your negatives and select out those of about the same 
 density and give them the same exposure. When you 
 have found the right time for each negative, mark it on 
 the negative envelope and you will always have it as a 
 guide for future bromide printings. When the second 
 hand on your watch has reached the required point, 
 prmt by removing the ruby glass and then place the 
 printing frame face downward on your table or bench 
 and close the ruby lamp. If we now examine the face 
 of the paper we will find nothing on it any more than 
 we will on a negative after it is exposed. 
 
 The picture must be brought out by development just 
 as we bring out the image on a negative. The solution 
 on the paper is the same as that on a negative, though 
 less sensitive. The print is now placed in a clean tra} 
 and the developer poured over it and the image will 
 gradually appear as it does on a negative but in very 
 
IN THEORY AND PRACTICE. I45 
 
 much less time. We have not experimented with factors 
 in bromide development but have no doubt that by a 
 little experiment they can be worked out, for the 
 conditions are almost identical with the negative develop- 
 ment. 
 
 Tolidol makes a good developer for bromide paper, 
 as it is almost colorless and does not stain the papers 
 as some of the developers will. Generally speaking a 
 solution of Tolidol for plates may be strengthened fifty 
 per cent for use as a bromide developer. The Nepera 
 Chemical Company and the Eastman Company, the two 
 largest manufacturers of bromide papers in this country 
 both recommend the use of the following developer: 
 
 No. I. I No. 2. 
 
 Neutral Oxalate of Potash 16 ozs. Proto-Sulphate of Iron 8 ozs 
 
 Hot Water 48 ozs. Hot Water 24023, 
 
 I Citric Acid .iSgrs. 
 
 Let both solutions cool and then put them in separate 
 bottles, well corked and they will keep for months. To 
 use, measure out four ounces of No. i and one ounce of 
 No. 2. The print should first be soaked in water for a 
 minute or two until quite limp and it is then placed in a 
 tray, flooded with the developer and rocked as in 
 developing a negative. A few drops of bromide, in the 
 proportion of one ounce of bromide potassium to one 
 quart of water may be used where it is found necessary 
 to restrain the developer. As soon as the print has 
 reached the desired strength and all the details have 
 
1^6 MODERN PHOTOGRAPHY. 
 
 developed out, take it from the developer and without 
 washing, place it in the following: 
 
 Clearing Solution. 
 
 Acetic Acid i dram. 
 
 Water 32 ozs. 
 
 The print should be thoroughly rocked in the solu- 
 tion and turned over often so the solution can act on 
 both sides of the paper and thus prevent the iron in the 
 developer from precipitating on the paper. Pour oK 
 clearing solution and apply fresh and repeat. Now 
 rinse the print in clean water and use the following: 
 Fixing Batli. 
 
 Hyposulphite of Soda 8 ozs. 
 
 Water 64 oz? 
 
 After fixing thoroughly, the print should be washed 
 for two hours and then dried. Blisters may be avoided 
 by using a little common salt in the first washing water 
 after fixing. To avoid yellow prints the developer must 
 be acid, the clearing solution must be used as directed, 
 fresh hypo solution should be used on each batch of 
 prints and the final washing must be thorough, though 
 the prints should not be washed over two hours. 
 
 The prints may be given a high finish if the smooth 
 surface paper be used, by squegeeing the prints on a 
 ferrotype plate but in our estimation this takes from 
 the print all its artistic qualities. A proof may be taken 
 from a negative which has just been fixed and washed, 
 before it is dried, ae follows: Wet a piece of smooth 
 
IN THEORY AND PRACTICE. I47 
 
 bromide paper and place it directly in contact with the 
 wet film of the negative. Expose to the lamp as directed 
 above, remove from the plate, develop, fix and wash and 
 you have a proof which will not fade and is made in less 
 than thirty minutes from the time the plate was developed. 
 
 Sepia Tones. 
 
 To change bromide prints from blue-black to sepia 
 tones they must first be thoroughly washed to free them 
 from all traces of hypo or developer. Then tone them 
 by rocking in a tray containing the following: 
 
 Uranium Toning Solution. 
 
 Potassium Ferricyanide (not Ferrocyanide) 36grs. 
 
 Uranium Nitrate 32 grs. 
 
 Acetic Acid 25 diams. 
 
 Water 84 ozs. 
 
 Dissolve the ferricyanide in the water and let in stand for 
 a few minutes, add the acid and then the nitrate and filter. 
 
 Should any precipitate form during the toning, filter 
 the solution again, wash out tray and proceed once 
 more. If the precipitate is allowed to remain it will 
 discolor the print. Do not use iron or enameled trays 
 while using this solution. Use glass or porcelain and 
 keep trays clean. Let the toning proceed a little deeper 
 than desired in the finished print and wash in running 
 water until the print is free from the yellow color, which 
 will be about twenty minutes. This solution will not 
 keep and only enough should be made up for immedi- 
 ate use. If the highlights are still discolored immerse 
 
148 MODERN PHOTOGRAPHY 
 
 the prints in a solution of one drop of .^tronuf ammonia 
 to 12 ounces of water but allow the print to stay in this 
 solution but a few seconds and then wash. 
 
 Bromide paper may be manipulated to such an extent 
 that a print need rarely be thrown away as poor or use- 
 less. The print may be green from over-exposure or 
 have a muddy background and may still be converted 
 into a fairly good print. If it is over-exposed it may be 
 toned in Uranium as given above and if over-exposed 
 and over-developed it should first be reduced in a solu- 
 tion of 
 
 Red Prussiate of Potash 2 drams. 
 
 Hypo icz. 
 
 Water 16 (zs. 
 
 The print should be reduced a little more than the 
 density required in the finished result and then wat?hed 
 thoroughly. This is applicable to prints which have been 
 under-exposed and over-developed in an effort to biing 
 out details, which resulted in a print with muddy back- 
 ground. The reducer may be applied locally with a 
 brush as suggested for negatives, allowing the reducer 
 to run away from those parts which do not need reduc- 
 tion and frequently splashing the print with water. 
 When unsatisfactory tones are produced they can be 
 changed or modified to almost any extent by the use of 
 gold, uranium, copper or iron. Gold produces a rich 
 blue-black, uranium v/e have explained, copper gives 
 various colors from a purple black to a red and iron 
 
IN THEORY AND PRACTICE. 149 
 
 various shades of blue, depending on the length of devel- 
 opment. The print after washing should, for a blue- 
 black tone, be immersed in 
 
 Ammonium Sulpho-Cyanide 3ogrs. 
 
 Water to 10 ozs. 
 
 (jold Chloride 2grs. 
 
 The sulpho-cyanide is first dissolved in water and then 
 the gold is added. Toning will proceed rapidly and 
 may be performed in subdued daylight. When the pro- 
 per tone is reached wash in several changes of water 
 and fix for a quarter of an hour. 
 
 For red tones make a one per cent solution of copper 
 sulphate and add to this a saturated solution of carbonate 
 of ammonia until the first formed precipitate is re-dis- 
 solved. To this add three grains of potassium ferricy- 
 anide to each ounce of the above. The toning takes 
 place somewhat slowly and starts with a blue-black but 
 if continued it changes to a brilliant red. If a blue tone 
 is desired use 
 
 Potassium Ferricyanide 5 gis. 
 
 Ferric Oxalate 5 grs. 
 
 Water to 20 ozs. 
 
 Various colors of blue may be secured according to 
 lenth of toning. 
 
 An unsatisfactory print can be bleached out in the fol- 
 lowing bath and when well washed may be re-developed 
 to any desired shade: 
 
 Potassium Bichromate 15 grs. 
 
 Alum 75 grs. 
 
 Hydrochloric Acid i dram. 
 
 Water 4 ozs, 
 
ISO MODERN PHOTOGRAPHY 
 
 After a thorough washing the prints must be fixed 
 and again washed. 
 
 Velox Paper. 
 
 This is a form of bromide developing paper which is 
 not as sensitive as the ordinary bromide papers and the 
 paper may be placed in the printing frame by means of 
 gas or subdued daylight. It may be printed by electric 
 hght or will print in from one to eight seconds by dif- 
 fused daylight, say a few feet from a window having a 
 north exposure. It may also be prmted by means of 
 gaslight or a kerosene burner at a distance of three or 
 four inches from the negative in one or two minutes. 
 Six forms of this paper are put upon the market by the 
 manufacturers and are known respectively as "Carbon," 
 a matt paper; "Glossy," an enameled paper; "Rough," 
 a slightly pebbled surface; "Special Portrait," a half 
 matt; "Special Glossy," with enameled surface and 
 " Special Rough." The " Special " papers require less 
 exposure than the ordinary. 
 
 After exposure, develop with either of the following 
 developers: 
 
 Metol Quinol. 
 
 Water lo ozs. 
 
 Metol 7 grs 
 
 Sodium Sulphite, crystals pure 54 oz. 
 
 Hydroquinone 3° grs 
 
 Sodium Carbonate, desiccated 200 gn, 
 
 (Or40ogrs. of crystallized carbonate.) 
 JO per cent Bromide of Potassium solution, about , .10 drops 
 
IN THEORY AND PRACTICE. I51 
 
 Amidol. 
 
 Water 4 ozs 
 
 Sodium Sulphite, crystals pare 200 grs 
 
 Amidol, about 20 gfs 
 
 10 per cent Bromide of Potassium solution, about 5 drops. 
 
 If blacks are greenish, add more amidol; if whites are 
 grayish, add more bromide of potassium. 
 
 Be sure to have your chemicals pure, especially your 
 sulphite and not to let your developer become spoiled 
 by oxidation; therefore, keep it in small, well-stoppered 
 bottles filled to the neck. Rubber stoppers are recom- 
 mended. Too weak a developer, or one that is oxidized 
 or contains too much bromide, will give greenish or 
 brownish blacks. 
 
 It is almost invariably necessary in order to prevent 
 foggy or stained whites in prints, to add a small quantity 
 of a ten per cent bromide of potassium solution to the 
 developer. This quantity will vary according to purity 
 of chemicals and water and according to the age or the 
 condition of dryness of the paper. *' Special Velox" can 
 stand more bromide in developer and further dilution of 
 same than ordinary Velox without giving greenish 
 blacks. 
 
 The developing can be done a few feet from the open 
 ruby lamp but we prefer to be safe and use red light 
 Develop as directed for bromide papers, wash slightly 
 and fix in the following bath: 
 
 Hypo 16 oz. 
 
 Wftter 640?. 
 
[52 MODERN PHOTOGRAPHY. 
 
 Then add the following hardening solution: 
 
 Water ' ozs. 
 
 Sodium Sulphite Crystals J^ 02. 
 
 Acfetic Acid No. 8 (or 4V4 deg. B.) 3 ozs. 
 
 Powdered Alum 14 oz 
 
 This hardening solution can be left out but the sur- 
 face of the prints may then remain rather soft and the 
 hypo bath will soon discolor and is then liable to stain 
 the prints. With the hardening solution this mixture 
 keeps perfectly clear and can be made up at any time in 
 advance. It can be used as long as it is strong enough. 
 It is also an excellent fixing bath for dry plates. 
 
 Rodinal and Tolidol also make good developers for 
 all kinds of Velox and Bromide papers and especially 
 tine results are to be obtained with Tolidol. With the 
 latter, which is a comparatively new developing agent, 
 used for dry plates, films and developing papers, special 
 formulas and directions are given for developing the 
 various kinds of papers. 
 
 Platinotypes. 
 
 There are two kinds of platinotype paper on the 
 market, one made by Willis & Clements, Philadelphia, 
 and the other made by John Bradley, Philadelphia. 
 Both papers are good. 
 
 There is an indescribable soft and pure tone about a 
 platinotype picture which is not found in other papers, 
 but which is somewhat approached in Aristo-Platina, 
 V^elox and Carbon papers. This paper must be kept 
 
IN THEORY AND PRACTICE. 1 53 
 
 dry and at the same time cool and comes in prepared 
 
 tubes. These tubes should be kept in the ice box when 
 
 not in use. 
 
 Printing. 
 
 This paper requires about one-third the exposure of 
 ordinary printing-out paper and a properly printed 
 sheet will show only a faint brown image on the yellow 
 surface of the paper. The printing frame must be 
 thoroughly dry and a sheet of thin vulcanized rubber 
 should be placed on top of the paper in the printing 
 frame before placing the back in position. Dampness 
 of the back of the printing frame or in the paper, will 
 cause muddy-looking prints and impure whites. The 
 paper should be printed until all parts of the picture are 
 visible except the high lights and the printing must be 
 examined by subdued light only. 
 
 Developing. 
 
 The manufacturers of these papers provide developing 
 salts and these are dissolved according to the accom- 
 panying directions and kept as a stock solution. The 
 prints should be developed as soon as convenient after 
 printing and if for any reason the developing cannot be 
 proceeded with at once then the prints should be re- 
 turned and kept in the tube until such time as it is con- 
 venient. These papers are developed either in hot or 
 cold developer but in either event the work of develop- 
 ment should be performed in the dark room, or by gas 
 
154 MODERN PHOTOGRAPHY 
 
 light. The solution being ready, the print is floated 
 upon it, exposed side down, for about thirty seconds. 
 Dishes made of porcelain or agate ware should be used 
 for development. After the print has floated upon the 
 bath for fifteen seconds, face down, it may be turned 
 over in order that 3'ou may the more readily note the 
 development as it progresses. When the print has de- 
 veloped to the right dcQ-ree action is stopped by plunging 
 it into the acid cleann^j; bath, which will be described. 
 Before developing the next print, stir the bath in order 
 to break up any scum which might be left by the first 
 print. 
 
 The developing bath should never have a lower tem- 
 perature than 60° F. or it may be warmed by means of 
 an oil or gas stove to 100° F. but never above this 
 point. A warm developer, as a rule, gives warmer 
 tones and under exposed prints may often be saved by 
 using the developer at 100 F. The developer is not to 
 be thrown away after use but should be poured 
 in a separate bottle and marked "old platinotype 
 developer" and with the addition of about ten per cent 
 of fresh developer can be used on the next batch of 
 prints. The developer should not be filtered but should 
 be kept in a dark corner in the dark room. A little 
 cloudy matter in the developer does not affect its use 
 and it clears up materially while standing. You should 
 always have at least a half inch of developer in your tray 
 when developing. 
 
IN THEORY AND PRACTICE. 1$$ 
 
 Clearing and Washing Prints. 
 
 There should be at least three acid baths, consisting of 
 one part muriatic acid to sixty parts of water and the 
 acid should be chemically pure. The print is placed face 
 downwards in the tirst bath for five minutes, then 
 removed to the second, where it should remain for ten 
 minutes and then to the third, where it should remain for 
 tifteen. Fresh acid baths should be prepared for each 
 batch of prints and the old baths thrown away. The 
 prints should now be washed In three changes of water, 
 turning them carefully, so as not to rub their faces and to 
 neutralize the effect of the acid a few grains of sal soda 
 should be placed in the second washing water. One- 
 half hour is sufficient time for washing and the prints 
 can be blotted off and placed away to dry, or they can 
 be mounted while still damp. The Bradley paper 
 requires but one acid bath, in which it should be left for 
 ten minutes. 
 
 The Willis & Clements paper is made in three grades, 
 known as A A, or "thin smooth;" B B, or "heavy 
 smooth" and C C, or " heavy rough." It is also made 
 to produce black or sepia tones. In working the sepia 
 paper the same general directions are to be observed as 
 for black but the sepia paper is more sensitive to light, 
 the temperature of the solution increased to 150° to 160° 
 F. and sepia tablets are added to the developing solution. 
 The Bradley paper is made in two grades, known as J, 
 or smooth surface, and B, or heavy, slightly rough. 
 
156 MODERN PHOTOGRAPHY 
 
 Carbon or Pigment Prints. 
 
 Carbon prints are not made by the average amateur, 
 on account of the somewhat tedious processes involved 
 but those amateurs who have once mastered the process 
 and noted the beautiful results are well satisfied to put up 
 with the extra trouble. Prints made by this process 
 possess the property, which cannot be attributed to all 
 other varieties, that of being absolutely permanent and 
 the black or carbon prints proper, possess a purity of tone 
 found only in platinotypes. If pure blacks and whites 
 are admired, we may say that in this respect they even 
 surpass platinotypes. Carbon prints are not made on pre- 
 pared paper, as are other prints and we cannot therefore 
 speak of "carbon paper" in a strict sense. In order that 
 the amateur may thoroughly understand the carbon pro- 
 cess, let us explain the underlying principles. The car- 
 bon process is founded on a peculiar faculty which gela- 
 tine has. If gelatine be impregnated with bichromate 
 of potash and then exposed to light under a negative, 
 those portions which have received the light's rays 
 become insoluble in hot water. The gelatine is not 
 applied to the regular paper, for reasons which we will 
 explain later but is applied to thin tough paper and is tech- 
 nically known as "carbon tissue." Carbon tissue may be 
 purchased from all the large photographic supply stores, 
 though the smaller dealers do not keep it as a rule. It 
 is generally to be had in black, which is the true carbon 
 and in browns, greens and reds. It is usually carried in 
 
IN THEORY AND PRACTICE. 1 57 
 
 England in two forms, known as sensitized and plain 
 but we know of no dealer in the United States who 
 carries the tissue senitized but the amateur can easily 
 sensitize it before use, by immersing in the following 
 bath for thirty or forty seconds: 
 
 Bichromate of Potash Vs oz. 
 
 Distilled Water 12 oz. 
 
 Aqua Ammonia 2 drops. 
 
 It must be hung up to dry in the dark room for sev- 
 eral hours. If the sensitized variety was on the mar- 
 ket this trouble might be avoided but the plain paper 
 will keep indefinitely and the sensitized is limited in its 
 keeping qualities. 
 
 The great drawback which carbon prints have had 
 in the eyes of the amateur photographers is that the 
 progress of the printing cannot be observed from time 
 to time, as with printing-out papers and the fact that 
 carbon prints have to be transferred. Let us try and 
 explain why the transfer becomes necessary. As 
 pointed out above the gelatine when treated with bichro- 
 mate of potash and exposed to the light, becomes in- 
 soluble in hot water. It then follows that if we expose 
 a piece of the tissue under a negative in the printing 
 frame, that the light will act upon it as it does on other 
 printing paper and that those portions which lie under 
 clear glass in the negative receive the greatest amount 
 of hght, those under the half-tones next and those under 
 the black portions of the negative no light. In the case 
 ot the portions of the tissue directly under the clear 
 
.T58 MODERN PHOTOGRAPHY 
 
 glass the light strikes clear through the gelatine on the 
 surface of the tissue and if we were to place the 
 exposed tissue in hot water those portions would be un- 
 affected, while those parts which were under the black. 
 portions of the negative and received no light, would be 
 dissolved and run away. How about the half-tone, or 
 those parts which received but a portion of the light? 
 The light not having free access to those portions, the 
 surface of the sensitive film only has been affected, and 
 if we were to place the tissue in hot water the unaffected 
 portions underneath would be dissolved and the entire 
 half-tone portions be washed away with it. Now it is ob- 
 vious that in order to avoid this we must transfer the 
 film before developing, or, in other words, turn it upside 
 down and this is done by what is known as transferring 
 to a temporary support and removing the tissue which 
 previously held it in place. We can now see why, in 
 the carbon process, it is impossible to print and develop 
 the picture without removing it from the paper on which 
 the sensitive ground was originally laid, as in printing 
 out papers. 
 
 Now if the film on the paper is black, how are we to 
 know when it has been printed sufficiently? There are 
 two ways of determining: one as we did in the case of 
 bromide, or velox paper, by experiment, i. e., by printing 
 a small portion and then developing it and two by 
 means of an actinometer, or by comparison. 
 
 There are several actinometers on the market as 
 
IN THEORY AND PRACTICE. I59 
 
 Burton's, Sawyer's and Johnston's, or the amateur can 
 make a simple actinometer, with very little trouble, as 
 follows: Procure a piece of ordinary glass, say four 
 inches long and a half inch wide and a piece of thin 
 wood, (cigar box will do) of the same dimensions. Cut 
 up some white tissue paper into strips a half inch wide 
 and four inches long. Make some starch paste and 
 paste the face of the glass lightly and press on one of 
 the tissue strips. Paste again and put on another strip, 
 letting it recede about three-eighths of an inch and pro- 
 ceed in this manner until you have say eight or nine 
 tissues pasted one over the other, with three-eighths inch 
 steps between them thus 
 
 ^■^^^^^^^^^^^i^H^^^l^^^^ Glass. 
 
 ■ Tissue. 
 
 Each tissue added is to be three-eighths of an inch 
 shorter than the one previously pasted in position. With 
 a lead pencil number the tissue steps from i to 9. Cut 
 up a piece of ordinary printing out paper into strips four 
 inches long and a half inch wide. When the tissue strips 
 are dried hard you are all ready for a trial of the actino- 
 meter. Place one of the sensitized slips with its face 
 against the tissue paper, cover it with the wood strip and 
 hold all in position by means of two small rubber bands, 
 one at each end. We now select a negative, put it in 
 the printing frame and place the carbon tissue over it, 
 as in making ordinary prints. The printing frame and 
 
l6o MODERN PHOTOGRAPHY 
 
 actinometer are placed side by side in a good bright 
 light but not sunlight and examine the actinometer (by 
 removing one of the rubber bands so you can see the 
 printing paper) from time to time. The length of time 
 which will be required to print, depends on the negative, 
 as in other processes but when the sensitized strip under 
 step six shows a decided color you will be safe to remo\ e 
 and develop your first print. If the development proves 
 that your judgment was correct, then you will do well 
 to mark the envelope belonging to this negative " Car- 
 bon 6" and you will know exactly what exposure it will 
 require in the future for carbon printing. You can also 
 make comparisons between this and other negatives and 
 mark all those of a similar density and thus save much 
 experimental printing. Carbon tissue prints in about 
 the same time that the ordinary gelatine and collodion 
 papers do. The next step is to develop your print and 
 see if your exposure has been correct, for it would be 
 folly to continue printing until you know you are right. 
 There are two methods of making carbon prints, 
 known respectively as the "single" and "double trans- 
 fer process." We will first describe the development of 
 the single transfer process, since it is the simpler of the 
 two. To start with, we shall require four separate trays 
 or dishes, some single transfer paper, a piece of glass or 
 zinc, a print roller or squeegee and a good supply of 
 hot water. A small glass thermometer will also be 
 handy, especially to the novice. Of the dishes, three 
 
IN THEORY AND PRACTICE. l6l 
 
 might be the ordinary trays used in development and 
 for the fourth you should have an enameled iron dish» 
 In the first tray put cold water, in the second hot water, 
 iio° F., in the third cold water and in the fourth the 
 fixing solution, which consists of one ounce of common 
 alum to twenty ounces of water. Cut off a piece of 
 single transfer paper a little larger than your print, put 
 it in the first tray and allow it to soak for three or four 
 minutes until it feels slippery to the touch. This trans- 
 fer paper you purchase from the photo supply house at the 
 same time you purchase the carbon tissue. You place the 
 exposed carbon tissue also in this tray and you will note 
 that it immediately begins to curl, the film side being in. 
 In a few minutes it will again begin to straighten out 
 and just before it straightens bring it in contact with the 
 single transfer paper under the water, the film side of 
 the tissue being next to the slippery side of the transfer. 
 Now slip under both of them the piece of glass or zinc 
 spoken of, remove from the waier and adjust the tissue 
 until it is about central on the transfer paper. Hold it 
 in position with the fingers on one end and pass the 
 print roller over the tissue, pressing it firmly down into 
 position. Now remove the fingers and press down the 
 other half, working from the center. Now remove the 
 zinc or glass from the back and substitute a few pieces 
 of blotting paper. Place two or three pieces of blotting 
 paper over the tissue and then put on a fiat board and 
 weight to hold the print flat and in position. At the end 
 
1 62 MODERN PHOTOGRAt»HV 
 
 of a quarter ot an hour we are ready to proceed. Oi 
 course it will be understood that if we were working a 
 dozen or more prints, we could pile them on top of one 
 another, with two or three sheets of blotting between 
 each sheet and thus save time. 
 
 We are now ready for the development and we now 
 fill the second dish with the hot water. In this dish we 
 pi ice the carbon tissue still adhering to the single trans- 
 fer paper and turn the sheet over and over again as you 
 would in toning. In a few moments you will note that 
 the colored gelatine is beginning to run out from be- 
 tween the two sheets. About this time, take the print 
 from the water and taking one corner of the tissue 
 paper between the thumb and forefinger of the right 
 hand, proceed to strip it from the colored gelatine. In 
 some cases the tissue will stick and it must then be allowed 
 to soak for a few minutes longer and it will generally 
 come off without trouble. The remaining gelatine does 
 not look very attractive, being a dirty mass of sticky 
 matter but as we begin to bathe it with the hot water 
 the superfluous gelatine melts and runs away, leaving 
 the image behind it in the form of a pure black print. 
 When the development has proceeded far enough, the 
 print is transferred to the third dish containing the cold 
 water, where it should remain for about five minutes and 
 is then placed in the fourth dish, or hardening solution, 
 where it should remain for fifteen or twenty minutes. 
 After removing, it should be washed thoroughly in clean 
 
IN THEORY AND PRACTICE. 163 
 
 water and laid away or hung up to dry. To keep prints 
 flat we advise laying them on a ferrotype plate to dry, 
 film side up. 
 
 Now it may happen that the first print is either too 
 dark or too fight. If it is too dark, then we exposed it 
 too long in the printing and if too light, then it is under 
 exposed or printed. If we find that the print is not 
 coming up as black as we should desire, being under 
 printed, then place it in cooler water and it wifi some- 
 times save it and if over printed increase the tempera- 
 ture of the water. Under no circumstances should the 
 film of the picture be handled until it is quite dry. On 
 examination of the finished print you will see that it is 
 reversed, i. e., those portions of the picture which were 
 on the right in nature are now on the left and vice versa. 
 Now in very many cases this will make no difference, 
 particularly in landscapes but if the scene is a familiar one, 
 or if it is a well-known public building, it would appear 
 ridiculous and we should therefore have to employ what 
 is known as the double transfer process in order to have 
 the picture appear as the scene does in nature. 
 
 The manipulation for the double transfer process is 
 similar to the single but the printed carbon tissue, in- 
 stead of being squeegeed to a permanent support is first 
 attached to what is known as a temporary support, then 
 developed and again changed to its permanent support. 
 The temporary support may consist of paper, metal or 
 glass but in any event it must be coated with the fol- 
 
164 MODERN PHOTOGRAPHY 
 
 lowing waxing compound, which can be purchased from 
 the photo supply house or made at home: 
 
 Yellow Beeswax 25 grs. 
 
 Powdered Resin 15 grs. 
 
 Turpentine 2 oz. 
 
 The beeswax should be cut into small pieces and 
 placed in a bottle, the turpentine added and then dis- 
 solve by placing the bottle in a water bath. When the 
 wax is all dissolved, add the resin and keep it in the bath 
 until thoroughly dissolved. Take a small quantity of the 
 compound on a clean linen rag and apply it to the sur- 
 face of the temporary support and polish with a clean 
 linen rag. The temporary support should be prepared 
 before you start your printing. The final support, in 
 the shape of paper, may be purchased from your photo 
 supply house, or it may be glass, mica, wood or any 
 substance that will stand washing in water. The final 
 support should be soaked for about a quarter of an hour 
 in a solution composed of 
 
 Powdered Alum 4 drs. 
 
 Water 20 ozs. 
 
 The printed carbon tissue is soaked in water until soft 
 and then transferred to the temporary support, which has 
 previously been coated with the wax solution. This, 
 of course, is done under water, as described in the sin- 
 gle transfer process. It is now squeegeed, dried and 
 developed, soaked in water and hardened as previously 
 explained. After it is thoroughl)' washed it is brought 
 into contact with the prepared surface of the final sup- 
 
IN THEORY AND PRACTICE. 165 
 
 port and is then squegeed down firmly to it and 
 allowed to dry. When thoroughly dry insert the end of 
 your penknife under one corner of the temporary sup- 
 port and it will come away leaving the print in its final 
 resting place. Where the final support is glass, polished 
 metal or wood, there is a liability of the print not ad- 
 hering well unless the surface is prepared for its recep- 
 tion. It is therefore well to coat the surface of the 
 article. This coating is prepared by soaking 200 grains 
 of gelatine in 16 ounces of water for three or four hours 
 and then dissolving it in a water bath. Now dissolve 15 
 grains of chrome alum in four ounces of water and add 
 it very gradually to the gelatine solution. Should the 
 gelatme thicken too much add a few drops of acetic acid, 
 shaking the bottle thoroughly. This should be applied 
 in a thin coating to the wood or glass, which is to act us 
 a final support and allowed to dry. The solution should 
 always be applied warm. The final support should be 
 soaked in water for a few minutes before the carbon 
 print is applied. If the final print, after drying, be 
 coated with this waxing compound mentioned for coat- 
 ing the temporary support, it will be waterproof and can 
 be cleaned with a moist sponge or cloth when soiled. '. 
 There are occasions when the amateur would like to 
 print a portrait, landscape, or marine upon a handker- 
 chief, tidy or piece of satin or silk for a sofa pillow. 
 This can be done readily by sensitizing the surface of 
 the material and printing and developing the same in the 
 
t66 modern photography 
 
 ordinary way. Recently there has been placed upon 
 the market an article known as " Sensitol " which the 
 amateur will find very convenient for this purpose. It 
 is a sensitizing fluid and gives a good photographic sur- 
 face to any material that is sufficiently absorbent to 
 retain a small quantity of it in its pores. The materials 
 best adapted to this purpose are plain, unsized linen 
 note paper, Whatman's hot pressed and other similar 
 grades of waterproof drawing paper, postal cards and 
 silk, satin, linen and cotton fabrics. Its manipulations 
 are so simple that the merest beginner can get perfect 
 results by following the directions. 
 
 The solution is to be applied to the surface with a 
 camel's hair brush set in quill, or still better, set in hard 
 rubber but never under any circumstance, with a brush 
 set in metal, as the solution is decomposed by free 
 metals. It can be applied by ordinary gas or lamp light, 
 or by very weak daylight but the sensitized material 
 must be dried and kept in the dark and in a place that 
 is free from moisture. 
 
 Fabrics should be sensitized and printed on glass by 
 laying the fabric over it. Full directions for preparing 
 the work, printing and toning accompany each bottle. 
 
A Meritorious Freak. 
 
CHAPTER XI. 
 
 Ridiculous and seemingly impossible results are some- 
 times achieved by means of the camera and the manipu- 
 lation of the subject or plate. Every amateur is doubt- 
 less familiar with the class of pictures which show the 
 subject with distorted feet but it is not every photo of 
 this class which is a success and it is seldom that we see 
 an example in which the entire picture is in focus. To 
 take even a good "freak" picture one must thoroughly 
 understand the underlying principles and must have the 
 proper apparatus. The accompanying illustration was 
 made from a photograph of considerable merit which was 
 taken by Mr. L. L. Northup, South Haven, Mich. It will 
 be noted that every portion of this picture is in focus, 
 from the heels of the rubber boots to the magazine which 
 the boy is reading. This photo was made by placing 
 the subject on an incline. The lens used was a short 
 focus, wide angle one, stopped down toy"i6, with an 
 exposure of ten seconds, under a skylight. The plate 
 used was a 26x Seed. 
 
 Very curious and ridiculous effects may be produced 
 by taking a photograph in the usual way, developing, 
 fixing and washing and then while the film of the plate is 
 still wet, heating it before the fire or gas burner until the 
 coating is ready to run in any direction. Now by tilting 
 
 167 
 
I 68 MODERN PHOTOGRAPHY. 
 
 the negative one way and another and thus distorting 
 the image, most ridiculous results follow. Portraits, 
 groups and street scenes are particularly applicable for 
 this form of freak. In portraits the faces can be dis- 
 torted in every conceivable manner while well-known 
 public buildings can be made to assume the appearance 
 of having passed through a terrible earthquake. So 
 called ghost photographs are easily made. A person 
 wrapped in a sheet is placed in front of the camera for a 
 second or two, the exposure made, the lens capped, the 
 person walks away and the lens is again uncapped and 
 the balance of the exposure made. The result will be 
 an indistinct shadowy image of the *'ghost," through 
 which the drapery or furniture of the room can be seen, 
 giving the transparent effect which is attributed to ghosts. 
 Comical effects may be produced by showing two per- 
 sons playing cards at a table, while the ghost is seen 
 standing behind or beside one of the figures, holding 
 up a warning finger. In photographing in this way it 
 is essential that the figures do not change position be- 
 tween the first and second exposures, except the person 
 who is impersonating the ghost. 
 
 Very good imitations of oil paintings may be made in 
 a similar manner. The person whose portrait is to be 
 made is placed behind a large sized gold frame, one 
 large enough to show the head and shoulders of the sit- 
 ter. A piece of coarse canvas is secured and is painted 
 brown or a neutral color with distemper, or you can pur- 
 
IN THEORY AND PRACTICE. 169 
 
 chase a piece of brown canvas at almost any dry-goods 
 store, the variety of goods which ladies use for outing 
 skirts and known as duck. The canvas is stretched on 
 a rough wooden frame and placed immediately behind 
 the sitter. You now focus the sitter sharply, expose the 
 plate in the usual manner, close the lense and plate hold- 
 er and remove the latter, being careful to note which 
 is the side of the plate holder used. The sitter is now 
 removed and you re-focus so that the grain of the 
 canvas comes up sharply on the ground glass. Again 
 insert the plate holder and finish the exposure. The re- 
 sult will be a negative which will very closely resemble 
 an oil painting which has been photographed, for the 
 grain of the canvas will appear all over that portion of 
 the picture which appears inside the frame, even show- 
 ing on the light portions of the face. 
 It is sometimes desirable to show 
 two views of a person on one nega- 
 tive, as a full face and a profile and 
 yet show no dividing mark where the 
 two exposures meet. This can easily 
 be effected by means of the duplicator 
 which is shown in Fig. 36. The du- 
 plicator can easily be made as follows: Select a card- 
 board pill box or a small tin box which will fit over the 
 front of your lens. With a pair of compasses draw a 
 circle on the bottom of it about the size of the lens and 
 cut away a section about equal to one-fourth of the 
 
I70 MODERN PHOTOGRAPHY 
 
 circle. Use this as a cap for your lens and note 
 the effect when viewing a scene on the ground glass. 
 If the scene just covers one-half of the ground glass 
 then the aperture is correct but if it covers less than 
 a half you may have to cut away a third or gradually 
 increase the opening. The size of the opening depends 
 on the distance between the ground glass and the 
 lens. If a figure, the person will have to be posed 
 a little to one side of the camera. You focus and the 
 exposure is then made in the ordinary way. The 
 lens is then capped or the shutter closed and the plate 
 holder removed. The duplicator is now turned so 
 that the opening comes opposite the other half of the 
 lens and by means of the ground glass you can see that 
 it is in the right position. The plate holder is again 
 inserted and the exposure made on the other half of the 
 plate, the person in the meantime posing a little to the 
 other side of the camera. To do the work nicely, the 
 ground glass should be divided exactly in the center by 
 means of a pencil mark, so that you know that the two 
 pictures just meet in the center. The duplicator can be 
 turned so as to throw the image on any part of the plate 
 and many humorous pictures can be made in this way. 
 For example two persons, who have never met in life, 
 can be made to appear as sitting opposite one another 
 at a table playing cards, or a person can be made 
 to appear as though he were playing cards with his 
 double. 
 
IN Theory and practice. 
 
 1-71 
 
 The same effect can be secured by dividing the camera 
 at the back, close to the grooves in which the plate hold- 
 ers slide, by means of a piece of tin, just half the size of 
 the plate but this is not easily done with hand cameras. 
 The tin is held in place at the bottom by two thumb 
 tacks and at the top by a swivel button. The exposure 
 is made on one half the plate, the tin shifted over and 
 the other half is then exposed. Another method is to 
 cover half the dry plate with a piece of black paper 
 or cardboard, make an exposure and then shift the 
 paper so the other half of the plate is exposed. The 
 Ideal Duplicator is an instrument built on the principle 
 of the one first 
 described, being 
 a metal box with a 
 section of a circle 
 cut away. It is 
 very inexpensive, 
 cos tin g but 
 twenty-five cents. 
 Fig. 37 illustrates 
 the Multiplex De- 
 vice which is fur- 
 nished with the 
 Adlake Cameras, for making two or four views on one 
 plate. One of the most ridiculous pictures of this 
 class that we have ever seen depicted is a man in the 
 act of viewing his own head which was stuck on a 
 
 Fig.sr- 
 
1^2 MODERN PHOTOGRAPHV 
 
 candlestick on the table before him. Those who are 
 familiar with stage tricks will readily recognize that 
 such a photo and many others of its class are readily 
 made by the employment of a mirror and the above 
 described duplicator- 
 
 By taking advantage of the well-known law that the 
 nearer an object is to the lens the larger it appears, 
 some very ridiculous effects may be produced by means 
 of a short focus lens and photographs. A reproduction 
 of a portrait if viewed from one side distorts the length 
 of the face while if viewed from the bottom or chin 
 side the face will broaden out at the chin. The 
 same effects are thus produced as one sees in convex 
 mirrors. 
 
 While it is possible to take photographs by moon- 
 light, by prolonged exposure, most of the so-called moon- 
 light photographs that we see are simply day views. 
 Many of these so-called moonlight views are the result 
 of accident and overexposure but some are purposely 
 taken for such effects. Views on lakes and rivers with 
 the moonlight coming from behind a bank of fine clouds 
 and the moonbeams shining across the water are favorite 
 ones. These views are usually taken late in the after- 
 noon when the sun is low and is just hidden behind a 
 bank of clouds. The lens is pointed directly at the 
 sun and the shortest possible exposure made. The re- 
 sult is a night view to all intents and purposes. Very 
 pretty effects m;iy be secured in moonlit wooH views at 
 
An Imitation Moonlight. 
 
 
 
 "^'f^Mi^fSBS 
 
 iiigf 
 
 HT'^^^^N.. 
 
 A Genuine Moonlijjht, 
 
IN THEORY AND PRACTICE. 173 
 
 about sun-down by slight overexposures. Select a piece 
 of woods with open ground to the west for free admis- 
 sion of the sunlight, which will cast long dark shadows. 
 The camera should be faced to the north or south so that 
 the shadows appear and the exposure is prolonged so 
 that the contrasts are considerable. 
 
 The accompanying illustration is made from a genuine 
 moonlight view taken with a five dollar camera on a win- 
 ter evening. The camera was placed in position on the 
 end of a long pier, extending out into Lake Michigan, 
 at 7:45 and was left there until 9:45. The moon was 
 full and about two hours from the zenith, being nearly in 
 front of the camera but not enough so to allow the 
 rays to enter the lens. The moon did not shine brightly, 
 the atmosphere being somewhat haz}'. This view was 
 taken as an experiment by Mr. L. L. Northup, of South 
 Haven, Mich. 
 
 Perhaps one of the most difficult tasks in photography 
 is to get a first-class negative of a room showing not 
 only the windows but also the landscape out of doors. 
 While non-halation plates produce wonderful results in a 
 way, there are cases in which even with their aid it is im- 
 possible to get a negative, the resulting print from which 
 does not show a blur, which entirely destroys the beauty 
 of the picture. The reader is invited to carefully study 
 the accompanying illustration and guess how it was done. 
 It was taken on a Cramer Crown plate, unbacked, by 
 Mr. Chas E. Jacoby, Sioux Rapids, la. Mr.Jacoby de 
 
1^4 MODERN PHOTOGRAPHY 
 
 scribes the taking of this picture as follows : I set up my 
 camera and focused it for inside and out and stopped it 
 down so everything would be sharp. I then went to my 
 gallery and got a large piece of black felt with which I 
 covered the two windows to be taken on the outside and 
 then over this still spread another thick piece, which 
 shut out all light, having the dead black next to the 
 glass. Thus it would make no exposure on the dry plate 
 where the outside view should come. I then went in- 
 side, drew my slide and made a thirteen minute exposure 
 of the room, closed the shutter (I avoided putting the 
 slide in the plate holder at this time for fear the camera 
 would be moved a little before the second exposure, 
 thus spoiling the outline of the window), went outside, 
 took down the dark cloths, arranged the subjects out of 
 doors and made another exposure on the same plate 
 through the window. The second was a short exposure, 
 which on account of the size of the stop was about one 
 and one-half second in length and thus had no effect on 
 the exposure of the room which was thirteen minutes. 
 The plate was then developed in the ordinary manner. 
 During the long evenings of fall and winter and even 
 during summer evenings the amateur can devote his 
 time to photography if he so desires. Aside from ton- 
 ing and mounting, making of Bromide, Velox and other 
 developing paper prints, he can devote his time profit- 
 ably. Even a stormy evening is not devoid of all in- 
 terest to the amateur photographer, for if the conditions 
 
Lightning. 
 
 G. r. Sti-rlini,', Dotr.Mt. 
 
IN THEORY AND PRACTICE. 1 75 
 
 are right he can secure one or more lightning negatives. 
 Select a window facing that portion of the sky in which 
 the lightning is appearing. Set your focus for the point 
 lOO feet or more away. Put in your plate holder, draw 
 the sHde, open the shutter and wait for the flash. As 
 soon as the flash has appeared close your shutter at once, 
 as a second flash might destroy the effect. Select a pos- 
 ition where as little artificial light as possible is visible 
 and use the largest stop. The accompanying illustration 
 was made from a photograph taken at Island Lake, Mich., 
 by Mr. George F. Sterling of Detroit and is wonderfully 
 clear. Note the reflection of the lightning on the top of 
 the shed and between the railroad tracks. 
 
CHAPTllR XII. 
 
 Conditions govern night as well as day photography, 
 although the same rules do not apply in both cases. 
 Halation and reflection are, however, prime factors in 
 night photography and must under all conditions be con- 
 sidered if we wish an artistic picture. This will perha[>3 
 be made clearer by a study of the accompanying night 
 views. These views were both taken on State street, 
 Chicago, during the Peace Jubilee, when the street was 
 lighted by means of incandescent lights strung from one 
 side to the other. It will be noted in the first picture 
 that the foreground is absolutely devoid of all detail. 
 The night was clear and dry and the consequence was 
 there was no reflection from the sidewalks or pave- 
 ment. The streak of light at the right hand side of the 
 picture was caused by the headlights of the cable cars 
 which passed regularly every three minutes. The hala- 
 tion around the electric lights is considerable, showing 
 clearly that a non-halation plate should have been used. 
 This picture was taken on a medium isochromatic plate, 
 stopy"45, time 35 minutes. If you will now turn to the 
 next picture a marked difference will be noted. This was 
 taken on a rainy night and the wet side walks and stone 
 paving blocks reflected the light so that the details of the 
 foreground are nearly as good as though tne picture waa 
 
 17fi 
 
S^ JQ_ 
 
2 ^ 
 
 Z -3 
 
 
IN THEORY AND PRACTICE. I77 
 
 taken in the daytime. The negative was taken by Mr. 
 J. W. McCaslin, Chicago, on a non-halation plate, y 22 
 stop and i ^ hours exposure. Development 50 min- 
 utes. The cable cars were constantly passing and it 
 was necessary to shut off the light repeatedly while they 
 passed. In this way the streak of light which appears 
 in the other view was avoided and the only indication 
 of it that we can see is the reflection on the windows on 
 the right. About half way down the block, on the 
 fourth story of the building, was a large sign made of 
 red, white and blue incandescent lights, which read, A. 
 M. Rothschild & Co. The A. O. S. I. and & were in 
 red lights and these are entirely lost in the picture, 
 while the white and blue letters come out distinctly. 
 
 The next illustration was made from a photograph of 
 one of the Peace Jubilee arches taken at 9 o'clock in the 
 evening. This also shows great halation and the want 
 of a non-halation plate, although the small portraits of 
 the army officers come out nearly as distinctly as in the 
 day view directly under it. The latter is a splendid 
 negative taken by a Chicago amateur, Henry G. Mohr, 
 on a Cramer Crown plate, _/" 32 stop, time i second. The 
 night scene of the arch was taken on a medium isochro- 
 matic plate, withy' 32 stop, in 15 minutes. It is some- 
 what difficult to give more than a rough approximation 
 of the time required for night photography, much depend- 
 ing on the number and power of the lights but the fol- 
 owing exposures may be a clue to approximate exposure: 
 
178 
 
 Modern thotography 
 
 Night. 
 
 Lights. 
 
 Stop. 
 
 Plate. 
 
 TiMH. 
 
 Moonlight. 
 
 Gas. 
 
 /8 
 
 Rapid Iso. 
 
 30 min. 
 
 Moonlight. 
 
 Gas & Elec. 
 
 /8 
 
 Rapid Iso. 
 
 20 min. 
 
 Fair— no Moon. 
 
 Electric. 
 
 /8 
 
 Seed 26 X. 
 
 12 min. 
 
 Wet. 
 
 Electric, 
 
 /8 
 
 Rapid Iso. 
 
 10 min. 
 
 Wet. 
 
 Electric. 
 
 f^ 
 
 Non-Halation. 
 
 2 min. 
 
 Interiors, portraits, etc., may also be taken in the 
 evening by the aid of oil and gas light, with very artistic 
 results. For a portrait the subject will have to be posed 
 in a very comfortable position, for the exposure required 
 is lengthy, for it will vary from three to seven minutes, 
 depending on the amount of light. A lamp with a silk 
 shade may be introduced and adds materially to the 
 effectiveness of portraits taken at night. The lamp 
 should be turned down low in order not to fog the plate 
 and the shade should cover the flame. The figure 
 should be so lighted that all the light apparently comes 
 from the lamp in view, while in reality it comes from one 
 or two lamps placed outside the angle of view of the 
 lens. Care must be exercised, however, to have the 
 light face in such a way that there will be no cross 
 lights. Should it be thought necessary to have a naked 
 light appear in the picture, as a candle, tire in the grate, 
 etc., the actual exposure should first be made before the 
 candle or fire is lighted and the lens capped. The light- 
 ing can then be done and a second or two seconds further 
 
 I 
 
The Arch by Night. 
 
 The Arch by Day. 
 
IN THEORY AND PRACTICE. 1 79 
 
 exposure will be sufficient to introduce the light. Wels- 
 bach lights will be found very useful for night photog- 
 raphy and owing to the intense white light, they materi- 
 ally shorten the exposure. 
 
THAPTER XHL 
 
 Stereoscopic photography does not seem to be popu- 
 lar with amateurs although it is the most perfect manner 
 in which a scene can be reproduced. It has doubtless 
 been unpopular solely on account of the extra work in- 
 volved. As a rule the amateur is looking for good re- 
 sults by the shortest methods. It is hardly necessary 
 here to explain the theory of stereoscopic photography 
 but suffice it to say, that comparatively speaking, an or- 
 dinary photograph is fiat and wanting in detail when 
 compared with an equally good stereoscopic view. The 
 latter view gives a roundness and natural effect to all the 
 objects in the scene and particularly those objects in the 
 immediate foreground. This characteristic is what 
 makes the stereoscopic picture the very closest thing to 
 nature. The rocks, the grass, the trees, all stand out 
 boldly as they do when viewed in nature. Scenes and 
 objects vvith minute detail, which would be entirely lost 
 in an ordinary photograph, are the very choicest sub- 
 jects for stereoscopic views. Snow scenes, apple and 
 cherry trees in full bloom and similar subjects in 
 which the close detail is lost on printmg paper, show 
 their full beauty under the stereoscope. 
 
 Stereoscopic cameras are built by many of the lead- 
 ing manufacturers but are usually intended for tripod use. 
 
 180 
 
IN THEORV AND PRACTICE. 
 
 l8l 
 
 The Vive Stereoscopic Camera, which is shown in Fig. 
 38 is applicable either for hand or tripod use. This 
 camera takes two pictm-es of the same scene, 33^ x 3^ 
 inches on the same plate at one exposure. The camera 
 
 Fig. 38. 
 
 is fitted to use either cut films or glass plates and the 
 size of the plate is 3^ x 6^. If desired each lens can 
 be worked separately, so that two entirely different sub- 
 jects can be taken on the same plate. 
 
I«2 
 
 MODERN PHOTOGRAPHY 
 
 In all stereoscopic cameras the two lenses are of course 
 matched and they are usually about three inches apart, 
 from center to center, this being the distance that the 
 average eyes are apart. The lenses might be as near 
 as two and a half or as far apart as four inches and still 
 produce stereoscopic pictures but much depends on the 
 lenses. Stereoscopic pictures may also be taken with 
 ordinary hand cameras by constructing a very simple 
 mechanism but the scenes must be limited to still life 
 Any amateur who is handy with carpenter's tools can 
 make the attachment or your carpenter will make it for 
 
 you for a small sum. To 
 start with let us assume that 
 you have a box camera whose 
 base is say 5^4 x 7^ in. 
 Select a piece of well-sea- 
 soned white wood, pine or 
 cherry lumber, a half inch 
 thick and 53^x73^ inches in 
 dimensions. This will act as 
 the base for the camera. A hole which will just take 
 the camera screw is bored in the exact center and a small 
 frame whose outside dimensions are 4x6 inches is 
 nailed in the center, so as to leave a 'i^ inch margin all 
 around. You now have a piece similar to that shown in 
 Fig. 39. The frame may be either mitered or square 
 as taste dictates. Now select another piece of board 
 5^2 X 10 1^ inches and nail to this a frame of the same 
 
 Fig- 39- 
 
IN THEORY AND PRACTICE. 
 
 183 
 
 /■ 
 
 Fig. 40. 
 
 dimensions made of ^ inch square stuff and you will 
 have a piece similar to Fig. 40. Bore a hole in this 
 and in this hole insert a tripod screw nut, the same as is 
 fitted in the bottom of your camera. An extra tripod 
 
 screw will have to 
 be purchased for 
 use in the piece 
 shown at Fig. 39. 
 The piece shown 
 at Fig. 40 is now 
 fastened by means 
 of the tripod screw 
 to the head of the 
 tripod, where the camera usually rests. The smaller 
 piece or slide, shown in Fig. 39 is fastened to the bottom 
 of the camera by means of the extra tripod screw, 
 the smooth side of 
 the board to the 
 bottom of the 
 camera. When the 
 slide is placed on 
 top of the large 
 base board it pre- 
 sents an appearance 
 similar to Fig. 41. 
 It can be shifted back and forth, from right to left, 
 just three inches, the frame on the small sliding piece 
 acting as a stop at both ends and as guides at the side. 
 
 / 
 
 Fig. 4t. 
 
184 MODERN PHOTOGRAPHY 
 
 It is quite evident that if we screw the camera to the 
 top slide, move it over to the ri^^ht and expose a plate, 
 then move it three inches to the left and immediately ex- 
 pose another, that the result will be two negatives, similar 
 to those produced by a stereoscopic camera, except that 
 in the latter the two views are on one plate. Care will 
 have to be exercised to either mark the plate holders 
 "right" and "left" or to keep a record of them, for it is 
 absolutely necessary to know which is which when we 
 come to mount the prints as will be explained later. In 
 taking views for stereoscopic purposes with a single lens 
 camera there are several points which will have to be 
 guarded carefully. Motion of all kinds will have to be 
 excluded; moving figures, leaves, etc. This is not the 
 case with the regular stereoscopic camera for with it 
 we can take snap shots or time exposures. Again with 
 the single lens we must carefully watch the light and 
 give exact exposures to both plates or the result will 
 be an imperfect picture. Should a cloud pass over 
 the sun after we have taken the first picture we will 
 have to wait until the sun comes out again or the nega- 
 tives would not be mates. 
 
 The exposure for stereoscopic negatives is done as 
 with ordinary scenes except that a little over rather than 
 a little under exposure is better. The development 
 should be carried on as with ordinary exposures. Any 
 ordinary printing out paper will make good stereoscopic 
 views but silver paper and collodion and gelatine papers 
 
IN THEORY AND PRACTICE. 185 
 
 produce better results than bromides and platinotypes. 
 A smooth paper with a brownish tone will give better re- 
 sults than a rougher paper or a blacker tone. Brilliant 
 prints are not a necessity and in fact are a detriment, for 
 when viewed through the stereoscope they look fuzzy 
 and glaring instead of soft. In printing from a regu- 
 lar stereoscopic camera negative, a special printing 
 frame is necessary, as the plate is longer and nar- 
 rower than the average, or a large printing frame may 
 be used with a plain glass in it and the stereo-nega- 
 tive placed on the plain glass. When printing from 
 two negatives made from a single lens it will be found 
 desirable also to use a large frame with plain glass, 
 so that both negatives may be printed at the same time 
 and the color kept uniform thereby. The prints should 
 be numbered and marked on the back with a lead pen- 
 cil so that they can be sorted out in pairs after toning 
 and washing, otherwise you will get into trouble. After 
 printing mark the backs i-R, i-L, 2-R, 2-L, etc. and 
 you will have no trouble in sorting them out. 
 
 If you are printing from a single plate made in a 
 stereo-camera you will note that the view taken by 
 the right hand lens is on the left hand side of the 
 plate and vice versa. This being the case you will 
 have to cut the views apart, after toning, washing and 
 drying and transpose them, so that the view taken by 
 the right hand lens will be opposite the right eye when 
 viewed through the stereoscope and vice versa. The 
 
I 86 MODERN PHOTOGRAPHY 
 
 trimming of stereoscopic prints is of prime importance 
 for if they are not properly trimmed and mounted all the 
 effect is lost. Some prominent object as a stump, stone 
 or fence should be selected in the foreground as a guide 
 point and the print trimmed from it. We will suppose 
 in our example that there is a stump in the foreground. 
 In trimming the two prints this stump must be the sam.e 
 distance fror^j the bottom edge of print and the two prints 
 the same size in height. In trimming the sides, however, 
 we take another course. We again take the stump as a 
 base mark and in trimming the right-hand print we al- 
 low a quarter of an inch more to show on the left of 
 the stump than shows on the left of the other print 
 and in trimming the two prints to the same size we 
 naturally have a quarter inch more space showing on the 
 right-hand side of the stump than appeared on the right- 
 hand print. This will be made clear after you have 
 trimmed and mounted your hrst prints and viewed them 
 in the stereoscope or you will perhaps grasp the idea 
 better by examining a ready-made stereo-picture. In 
 mounting, about a quarter of an inch should be left 
 between the two pictures on the card and a dark mount 
 is preferable to a light colored one. 
 
 During the last few years considerable attention has 
 been paid to panoramic views by amateurs. These 
 views are usually made by means of the ordinary box 
 camera by shifting it on the tripod from left to right. 
 Two, three and sometimes four exposures are made 
 
IN THEORY AND PRACTICE. 1 87 
 
 trom the same point by simply turning the camera 
 slightly on the tripod screw. It is important to study 
 the scene before you carefully, so as to determine where 
 the joining shall take place. As a rule, it is better to join 
 at the edge of a building, tall tree, or some such object 
 which cuts well into the sky, as the joining is less liable 
 to be noticed. Starting at the center, the view is care- 
 fully focused and if it is intended to make a three-piece 
 panorama, the prominent objects to the right or left are 
 indicated by vertical pencil marks on the ground glass. 
 The camera is then swung to the left and placed in such 
 a position that the image on the ground glass shows that 
 the tree or prominent object whose location was noted 
 by means of the pencil line on the left of the ground 
 glass, just overlaps that line. The exposure is then 
 made, the camera moved to the center, the next ex- 
 posure made and then swung to the right. In each in- 
 stance the subject should lap, say three-eighths of an inch 
 for safety and even a half-inch is better, then in case of 
 any frilling at the edge of the plate you are still safe. A 
 special printing frame, long enough to take a sheet of 
 paper which will cover all three negatives, is procured. 
 Special frames for panoramic printing are now to be had 
 on the market. The backs are arranged to open in 
 three and four compartments. The center negative is 
 placed in position and the balance of the opening in the 
 printing frame is blocked out by means of black card- 
 Doard. The sides of the center negative are also blocked 
 
l88 MODERN PHOTOGRAPHY 
 
 out up to the point where you wish the joining. The 
 center is then printed, the center negative removed and 
 the left hand negative placed in position to the left in the 
 printing frme. The right hand side of the negative is 
 now blocked out up to the line where it joins the center 
 one, the balance of the frame blocked with black card- 
 board and the printing proceeded with. The right hand 
 negative is treated in similar manner and the print is 
 then ready for toning. 
 
 All this, of course, means work and for this reason a 
 special camera has been placed on the market, which is 
 known as the "" Al- Vista." It is a panoramic camera 
 which makes negatives 4x12 inches in size. This cam- 
 era enables the operator to take in a scope of nearly 180 
 degrees, or half a circle. The size of the camera is 
 5x5^x10^ inches and it weighs but a little over 2 
 lbs. when ready to operate. 
 
 Fig. 42 shows a front view of the camera before ex- 
 posure. You will note that the lens is pointing towards 
 the right as we look at the camera from the front. The 
 exposures are made on a roll tilm and the film passes 
 from one side of the box to the other, not in a straight 
 line, as in ordinary roll film cameras but in a half circle. 
 The back of the box has a semi-circular groove and the 
 film follows this circle, as you will see by consulting Fig. 
 43. You will see why, when you understand the action 
 of the camera. When all is ready you start the mechan- 
 ism and the lens sweeps from right to left, as you view 
 
IN THEORY AND PRACTICE. 
 
 ltJ9 
 
 it from the front. In making this sweep the film must 
 
 \ necessarily be on a half circle in order that the lens 
 
 be the same distance from the film at every stage of 
 
 Fig. 43. 
 
 its turning. When the sweep is completed the lens 
 points to the left, or opposite to where it started, as 
 
 I ■■; 4j. 
 
 shown in Fig. 44. When the exposure is made the film 
 is wound up for another exposure, there being an indi- 
 cator which shows when enough film has been brought 
 
ipO MODERN PHOTOGRAPHY 
 
 into position. The film is perforated by a punch, which 
 shows where it is to be cut off. then you are ready to 
 develop in the dark room. 
 
 The mechanism operating the lens is so constructed 
 that you can change the speed, fast or slow, according 
 to the light. The light coming through the lens does 
 
 fig- 4t- 
 
 not strike the film in a circle as in other cameras and 
 you can readily see that the angle of the most narrow 
 angle lens would be so wide as to produce a blur on 
 account of a double impression in some places. This is 
 obviated by means of a funnel-shaped tube extending 
 back from the lens about 3^ inches but the end of the 
 funnel is not round but a rectangular slit, which allows 
 onlv a streak of light to strike the film at one time. Any 
 four-inch daylight loading film may be used in this 
 camera. 
 
 J 
 
Time 1-50 second. 
 
 Cloud Effects. 
 qMdde on Ordinary Tlaies Without Color Screen. 
 
 Henry G. Al.l>. 
 
CHAPTER XIV, 
 
 In Chapter III the attention of the reader was called 
 to the fact that light is made up of several colors, red, 
 yellow, orange, green, blue, indigo and violet and that 
 blue, indigo, violet and green rays act more quickly than 
 do the red, yellow and orange ones. It was also explained 
 that if we expose a plate just long enough for the blue 
 and violet rays, then we will probably under expose it 
 for the red and yellow ones and that to have a perfect 
 negative we must in some wa}' correct the color value 
 by reducing all to a common value, or as nearly so as pos- 
 sible. This correction is partially effected in two ways, 
 either by the use of Isochromatic or Orthochromatic 
 plates and color screens, or by the use of color screens 
 in conjunction with ordinary plates. These color sensi- 
 tive plates in conjunction with color screens, or ray fil- 
 ters, as they are sometimes known, are very useful in 
 photographing flowers, clouds and other objects and 
 scenes where it is advisable to have the proper relative 
 color values. In these days of quick-working lenses, 
 shutters and plates, we find a greater percentage of 
 cloud effects than formerly. 
 
 The photographing of clouds, by themselves or in 
 conjunction with a marine or landscape, is highly inter- 
 esting and the addition of clouds to the ordinary view 
 
 191 
 
192 m6dern photography 
 
 adds to it at least fifty per cent in value from an artistic 
 standpoint. Almost any lens will answer for photo- 
 graphing clouds by themselves but it is not every lens 
 which will bring them out in conjunction with a land- 
 scape. It is not absolutely necessary to use either color 
 sensitive plates or color screens in order to insure tne 
 production of clouds in your landscape, for a proper 
 lens and fast plates will very often result in first- class 
 cloud effects, as the accompanying illustration proves; 
 but the cloud effects will certainly be enhanced by the 
 use of color sensitive plates alone and a greater improve- 
 ment made by the use of such plates in conjunction with 
 color screens. 
 
 Color screens or ray filters are made in several ways. 
 The coloring matters usually employed are Auramine, 
 Bichromate of Potash and Picrate of Ammonium for 
 color values on sky negatives and subjects whose tones 
 incline to blue, indigo, violet and green. These coloring 
 matters are employed in several different ways Some 
 color screens are made of mica, colored with one of the 
 above ingredients, others consist of glass cells contain- 
 ing the coloring matter in solution and others consist of 
 glass plates. The great objection to the color screens 
 on the market is that as a rule they are too deep or 
 strong in color. This strength not only prolongs ex- 
 posures from twenty to forty times but the results are 
 unnatural pictures. We have seen color screens in the 
 form of cells containing a saturated solution of bichro- 
 
IN THEORY AND PRACTICE. I93 
 
 mate of potash. Sach cells make necessary an exposure 
 forty times the length of the normal and the result is 
 an intensely black sky with white clouds, a thing never 
 seen in nature. The manufacturers claim that the screen 
 is built on scientific principles and tested b}' the spectro- 
 scope and found correct. This may be true and if it is, 
 then we do not want scientific effects, for they are cer- 
 tainly unnatural. While the clouds stand out beautifully 
 the background is certainly unlike anything in nature. 
 For this reason care must be exercised in the selection 
 of color. A saturated solution of picrate of ammonia 
 produces a light yellow which requires but very little 
 further reduction if used with lacquer or gelatine but 
 if used as a solution in a glass cell it can be slightly re- 
 duced. We have used a bichromate solution which con- 
 sisted of one dram of saturated solution to 4 drams of 
 lacquer and found that that was fully strong enough 
 for the darkest screen. Our best results have been 
 from screens made of lantern slide cover glasses, coated 
 with lacquer which was colored with picrate of ammo- 
 nium. A saturated solution of the picrate was made by 
 mixing with the lacquer. Three different screens were all 
 made very light in tone and where a darker tone was 
 desired one glass was placed in front of the other. Fig. 
 45 illustrates a front and top view of the holder for these 
 screens. The body of the holder is made of hard rub- 
 ber, turned from one piece, it being square in front and 
 turned down at the back, leaving a cap to fit over the 
 
194 
 
 MODERN PHOTOGRAPHY 
 
 Fig. 45- 
 
 front of the lens. This cap is hned with a piece of 
 chamois leather. The front has a frame made of light 
 brass with the top quarter of the frame removed. This 
 frame sets out far enough from the rubber body to admit 
 
 of the insertion of two screens, 
 one in front of the other, with 
 a bar between them. The so- 
 lution side of the color screen 
 is, after testing and being found 
 correct, to be covered with an- 
 other cover glass and the two 
 held together by means of a 
 bindmg of tin foil. A wire loop is fastened to the top, so 
 the screens can be easily removed. Instead of lacquer, 
 gelatine may be used. A saturated solution of the 
 picrate is made and to each ounce of this solution \ 5 
 grains of gelatine are added and then alcohol enough 
 to bring it to the required shade. Before using either 
 the picrate or any other solution, it should first be 
 filtered through a clean piece of fine linen to remove any 
 lumps or grains. If preferred, the various density of 
 plates may be secured by first starting with a very light 
 color, darkening by additional applications of the lacquer 
 or gelatine but our experience is that a light film is better 
 than a heavy one. Another method is to put unexposed 
 lantern slides into a hypo bath, clear them up thoroughly, 
 wash and then apply the solution to the film. The plates 
 must be fresh to accomplish good results in this way. 
 
IN THEORY AND PRACTICE. 
 
 195 
 
 V/////////A 
 
 Fig. 4f>- 
 
 The Government Weather Bureau at Washington 
 employ the solutions in glass cells. Fig. 46 gives an 
 idea of how these cells are made. The frame is made 
 of coik, although wood or hard rubber might be substi- 
 tuted. A ring of glass cut from a tube about the cir- 
 cumference of a lens and with the sides ground perfectly 
 flat with emery is cemented 
 between two thin pieces of 
 plate glass. This ring has 
 a small hole at the top for 
 the insertion and removal of 
 the solution and this hole is 
 stopped with a small metal 
 plug. The illustration to the 
 left shows the completed screen in place on the lens. 
 The glass ring is cemented to the square glasses by 
 means of Canada balsam. If alcohol is used as a base 
 for the solution much difficulty will be encountered 
 in preventing the cell from leaking and silicate of 
 soda or soluble glass will then be found better as a ce- 
 ment. The cell is filled and then fits, friction tight into 
 the square in the cork frame. It is much easier to make 
 the cell in this form than where round glasses are fitted 
 into a metal cylinder and less chance for leakage. Its 
 other good points are that several different densities of 
 cells can be used in the one frame and one can be pushed 
 out and a new one inserted without trouble. The ring 
 of glass must be the same width all around, other- 
 
196 MODERN PHOTOGRAPHY 
 
 wise the screen would be denser in one place than an- 
 other on account of the excess of fluid. The Weather 
 Bureau people emplo}' a saturated solution of bichro- 
 mate of potash. They secure thereby very showy but 
 very unnatural negatives and prints. If thev were to 
 reduce the density much more natural effects would 
 follow. 
 
 Other colors can be used with equal advantages on 
 certain kinds of color work. Emerald green can be 
 made into a solution and used in the liquid form or to 
 coat the plate by means of lacquer. Methyl violet may 
 also be used to advantage. These screens are useful in 
 copying water color and oil paintings. In order that the 
 action of screens may be fully understood by the amateur 
 let us put it in a little different form. 
 
 A YELLOW SCREEN cuts out in the negative the blues and indigoes, leaving clear 
 glass in their place. 
 
 A GREEN SCREEN cuts out in the negative the reds and leaves clear glass in 
 their place. 
 
 A VIOLET SCREEN cuts out in the negative the yellows and leaves clear glass io 
 their place. 
 
 The above refers to screens of dense color and lighter 
 screens of course have similar effects, thouch in a less 
 marked degree. From this it will be seen that if a yel- 
 low-orange screen of considerable density be used there 
 will be clear glass where the blue of the sky would be 
 and the consequence is that the resulting print would ap- 
 pear as white clouds on a black background. 
 
CHAPTER XV. 
 
 Flash light photography is extensively practiced by 
 amai?ur photographers with varying success. The ma- 
 jority of these photographs are failures, owing to the fact 
 that the person or group is left in total darkness or nearly 
 so and the sudden lighting produces a startled appear- 
 ance on the faces of the subjects. Again the lighting is 
 nearly always on one side, leaving the other side of the 
 faces in deep shadow. In many of these pictures the ef- 
 fects are highly ridiculous, as some persons close their 
 eyes when they catch the first glimpse of the flash while 
 in others the pupils are so dilated as to have a very start- 
 ling effect. To get good effects the room should be as 
 brilliantly lighted as possible by means of gas or oil and 
 the lights so placed as to soften the effect of the flash. 
 
 There are so many good flash lamps on the market 
 that it would be presumptuous to say that this or that 
 one is the best. Any of the modern lamps are good 
 and when handled with care there is little or no danger. 
 Accidents with flash lights are usually attributable to two 
 causes, carelessness in the location of the lamp or the use 
 of cheap or inferior flash light powders. When placing 
 the lamp in position see that there are no lace cur- 
 tains or other inflammable matter in close proximity to 
 the lamp. As a rule the lamp should be somewha*" 
 
 197 
 
198 MODERN PHOTOGRAPHY 
 
 higher than the lens. The person or group should be 
 posed away from the wall as far as the room will admit 
 in order to avoid deep shadows. A screen covered with 
 white cloth and placed at an angle on the side opposite 
 to the flash lamp but so it will not show on the ground 
 glass, will tend to do away greatly with the harshness 
 by reflecting light on the dark side of the faces. The 
 gas or other artificial lights in the room should not be 
 allowed to shine directly into the lens. 
 
 The posing being to your satisfaction proceed to 
 focus on the ground glass. To do this you will have 
 to place a lamp or candle close to the face of one of the 
 persons in the center of the group. Use the largest stop, 
 providing it will give you fair definition. The plate- 
 holder is now placed in position, the slide removed and 
 you are ready for the flash. We prefer the loose pow- 
 der but the prepared cartridges now on the market give 
 very good results. These cartridges are provided with 
 fuses ready for lighting. Most of the modern flash 
 lamps ignite the powder by means of an ordinary 
 match. By pulling a trigger the match is ignited and 
 forced through an opening in the back of the lamp 
 by means of a spring, thus igniting the powder. At 
 all times keep your face away from the powder. Never 
 be in a hurry when taking a flash light picture. Do not 
 be afraid of the light in the room fogging the plate but 
 at the same time it is well not to draw the slide until you 
 are ready to ignite the powder. 
 
IN THEORY AND PRACTICE. I99 
 
 Sometimes a frame covered with tissue paper or cheese 
 cloth is placed between the sitter and the lamp in order 
 to diffuse the light but if such a screen is used a larger 
 charge of powder is necessary. Flash lights are not 
 only useful for night photographs but may also be used 
 to advantage in the day time in making exposures of in- 
 teriors, especially in large buildings and poorly lighted 
 rooms. If judiciously used they are also a great help 
 in portraiture during the day time, the effect being much 
 softer than when used at night. 
 
 Silhouette pictures may also be made by means of the 
 flash light. A screen of cheese cloth or sheeting is 
 placed in the center of the room and the person or per- 
 sons posed in front of it. The camera is then focused 
 by placing a lamp or candle close to the face of the sit- 
 ter, the shutter opened and slide removed. All lights 
 are then turned low or entirely out. A flash lamp is 
 placed on the opposite side of the screen from the 
 subject or subjects and the flash made. The result 
 will be a silhouette picture or black on white. These 
 pictures may also be made by placing the screen close to 
 a window and cutting off all light except that which 
 comes through the screen. The person is then posed 
 in front of the screen and the focusing and exposure 
 done in the ordinary manner. As all the light comes 
 through the screen, that side of the person next the 
 camera will be in the dark and the result will be a 
 silhouette. The largest stop will have to be used and 
 
2CX) MODERN PHOTOGRAPHY 
 
 when daylight is utilized a time exposure will be neces- 
 sary, the time depending on the size of the screen 
 and window. 
 
CHAPTER XVI. 
 
 The making of lantern slides and transparencies al- 
 though a comparatively simple operation, requires care 
 and more or less skill and experience in order to get 
 good results. A lantern slide or transparency is really 
 a print on glass, being a positive and presents the pic- 
 ture exactly as viewed in nature. They are made in 
 two ways, by contact and by means of the camera. 
 Slides made by contact reproduce the view shown by 
 the negative in exactly the same size as the negative 
 does, while those made in the camera are on a smaller 
 scale, that is, the view shown on a larger plate is reduced 
 in size to go on a lantern slide plate. Special plates are 
 made for the purpose and American lantern slide plates 
 are 3^x4 inches in size. English lantern slide plates are 
 made 3^x334! inches. The glass in these plates is very 
 thin and of the best quality and the coating or emulsion 
 is also thin, so much so that it is sometimes extremely 
 difficult in the dark room to distinguish the coated from 
 the glass side of the plate. In such an event the 
 sensitive side can readily be determined by breath- 
 ing upon the plate; the breath will condense upon 
 the glass side but will have no visible effect on the 
 coating. 
 
 201 
 
202 MODERN PHOTOGRAPHY 
 
 The negative from which the contact shde is to be 
 made is placed in a printinj^ frame with the film side up, 
 exactly the same as in making a print. The lantern 
 slide is then placed in position upon the negative so 
 that the two plates rest film to film. This is of course 
 done in the dark room by means of the red light from 
 the dark room lantern. Care must be exercised to see 
 that all dust is removed from the film sides of both the 
 negative and lantern plate and that the glass side of 
 the negative is clean, for the smallest defect is exagge- 
 rated when the slide is placed in the lantern and the en- 
 larged view thrown upon the screen. The negative 
 with the lantern plate on it is held up before the red 
 light of the dark room lamp in order to place the lantern 
 plate in position. 
 
 Move the lantern plate around until it includes that 
 portion of the negative which you wish to show and 
 then place the back of the printing frame in position and 
 clamp it down. The printing frame is now turned face 
 down on the bench or table and the ruby lamp opened. 
 The printing frame is then held in a vertical position in 
 front of the lamp and about eighteen inches from it for 
 about ten seconds, the length of exposure and the dis- 
 tance from the light being governed by the size and 
 quality of the light and the density of the negative. If 
 the negative is a medium one, eighteen inches will be 
 about the right distance from the light; if thin, remove 
 more distant from and if dense brinijf it closer to the light. 
 
IN THEORY AND PRACTICE. 203 
 
 Should the negative be a very thin one it will be well to 
 place a piece of ground glass in front of the light and 
 lengthen the exposure. With an ordinary gas burner 
 and medium negative, from two to five seconds exposure 
 will be ample but with an oil light the exposure will vary 
 from ten to fifteen seconds. A few experiments will 
 teach you what is the proper exposure for a given nega- 
 tive and others can be judged from it just as you use 
 your judgment in making Bromide or Velox prints oi" 
 negatives. 
 
 The all important point in making lantern slides is 
 to have clear glass in the highlights or sky, providing 
 the latter is not intended to show clouds. When you 
 have made the exposure the printing frame is again 
 turned face down on the bench and the dark room lan- 
 tern closed. The back of the frame is then opened and 
 the lantern plate removed and developed. No special 
 developer is required and the work is performed the same 
 as developing a plate with the exception that care must 
 be exercised not to carry the development too far. If 
 the negative was one having a plain white sky, then we 
 must stop development as soon as we see that the sky is 
 changing in the slightest degree to a dark shade, for the 
 object is to have clear glass in the sky, when the slide 
 comes out of the hypo bath. When the image has de- 
 veloped up clear and distinct and just before the sky 
 changes, remove the plate from the developer, rinse 
 in water and place in the hypo bath. The ordinary 
 
204 
 
 MODERN PHOTOGRAPHY 
 
 bath used for negatives will answer, though a diluted 
 bath will be better. When the plate has cleared up 
 in the fixing, wash it for thirty or forty-five minutes 
 and put it in the rack to dry. 
 
 It will not be necessary to develop each plate as soon as 
 printed after you have familiarized yourself with the 
 process and the length of exposure. Five or six expo- 
 sures can be made one after the other and the plates put 
 in a box and all the development and fixing done at one 
 lime. When the plate has dried thoroughly it is ready 
 for the finishing touches in the way 
 of cover glass, mat and binder. 
 The covers consist of thin crystal 
 glasses which are sold for the pur- 
 pose. The mats are frames cut 
 from black paper with various 
 sizes and shapes of openings, most 
 of them being oblong with rounded 
 corners. The lantern slide is laid 
 on the table, film side up, the mat 
 placed on the film, and the cover 
 glass, previously cleaned, is then 
 placed on the mat. The three are then held together 
 and removed from the table and the binding strip applied 
 to the edges so as to hold them in place. Binding strijis 
 consist of narrow slips of tough black paper, gummed 
 on one side. The Ideal Lantern Slide Vise, shown at 
 Fig. 47 will be found very convenient when applying 
 
 Ilk 
 
IN THEORY AND PRACTICE. 
 
 205 
 
 these binding strips, as the lantern shde, mat and cover 
 glass are held firmly in position, leaving both hands 
 free to apply the binding strips. The slide is clamped 
 between rubber discs which do not scratch the glasses 
 and the slide is readily revolved. A mat should always 
 be selected which will cut out that portion of the picture 
 which is not desirable to show upon the screen and 
 it adds a finish to the view just as a frame does to a 
 picture. 
 
 We will now call the reader's attention to the second way 
 of making lantern slides, that is, by the reduction method 
 
 Fiff. i8. 
 
 and right here it is well to state that slides made in this 
 way are vastl}' superior to those made by contact. Fig. 
 48 illustrates the Anthony Lantern Slide Camera, which 
 ha? an oscillating frame carriage for the ground glass and 
 
206 MODERN PHOTOGRAPHY 
 
 plate holder, which facilitates the adjustment of the pic- 
 ture on the plate. It will be noted that the lens is situ- 
 ated about the center of the bellows but this center 
 board and lens can be used also at the end of the bel- 
 lows, thereby converting it into an extra long copying 
 camera. This camera is made for copying 4 x 5 or 
 smaller negatives on 3^x4 or 35^x434^ lantern slide 
 plates. The negative is placed in one end of the 
 camera, film side toward the lens, where it is held by 
 means of springs and the camera placed in front of a 
 window or light in order to focus the scene to the 
 right size on the ground glass. When the focus is 
 satisfactory the plate holder containing the lantern 
 plate is placed in position, the focusing cloth is thrown 
 over the end where the negative is held and the camera 
 is taken out of doors to a spot where the sky can be 
 viewed uninterruptedly. Here the camera is pointed to- 
 wards the sky and an exposure made, the length of time 
 depending on the brightness of the day and the dense- 
 ness of the negative. The development is then pro- 
 ceeded with, the same as with a contact negative. If the 
 slides are made at night the lighting can be done by gas 
 or flash light but in that evetit a ground glass should be 
 held a few inches in front of the negative in order to dif- 
 fuse the light. Of course the exposure can also be made 
 in the day time from any window where an uninterrupted 
 view of the sky is to be had but the sun must not shine 
 on the negative. A piece of white cardboard can be 
 
IN TMEOkY AND PRACTICE, 
 
 207 
 
 placed at an angle outside the window to cut off any 
 trees that shade the light and to reflect the light through 
 the negative. Should the negative be larger than will 
 fit in the front of the camera, then we shall have to 
 employ a little different method. We can take a starch 
 or soap box, remove the lid, and cut an opening in the 
 center of the bottom of the box which will just take the 
 large negative. The negative can be fastened in this 
 opening by means of thumb tacks or two wooden 
 cleats can be tacked on in which the negative can be 
 
 Fig. 4Q- 
 
 held. The film side of the negative should face the 
 inside of the box and the inside of the box should 
 be next the camera front. The camera can then be 
 brought into position until the image on the ground glass 
 is of the right dimensions and the focusing cloth can 
 be spread over the intervening space between the 
 camera and box, thus shutting off all fight except that 
 which comes through the negative. Fig. 49 illustrates 
 the Ideal Lantern Slide Camera which is a very simple 
 
2o8 MODERN PHOTOGRAPHY 
 
 arrangement, being a wooden box with lens in the cen- 
 ter partition, kits for the reception of the negative in one 
 end and the lantern slide in the other. The kit for the 
 reception of the negative is reversible so that vertical or 
 horizontal negatives can be used. The lens being a 
 iixed focus one the negative is always in focus. This 
 camera is built for 4x5 negatives only. 
 
 If any difficulty is had in focusing the negative on 
 the ground glass and it often happens, then the follow- 
 ing method may be resorted to: Divide the length of 
 the negative in inches by the length of the lantern slide, 
 to the result add i and multiply the sum by the focal 
 length of the lens and the result will be the distance that 
 the lens should be from the negative. We will assume 
 we have a 6^x8 negative, a 33^x4 lantern plate 
 and a lens of 6 inch focus. The process will be as 
 follows: 
 
 8-1-4 = 2 + 1=3x6= 18. 
 
 Now we have the distance from negative to lens 
 which is 18 inches, we must know the distance from 
 lens to lantern plate. We proceed to divide the result, 
 18, by the first quotient or 2 and the result will be 9 ins. 
 or the distance from the lens to the lantern slide. 
 
 If we desire clouds in the sky of our lantern slide and 
 the negative has none we can secure them by printing 
 the clouds in on a separate lantern slide plate and using 
 this plate as a cover glass for the lantern slide. Great 
 care will have to be exercised, however, to see that the 
 
IN THEORY AND PRACTlCEo 2O9 
 
 two slides blend well together at the horizon line and 
 also that we are not putting clouds which are lighted 
 from the right into a scene which is lighted from the left 
 and that in all other respects the clouds match the scene 
 and above all be careful not to get the clouds upside 
 down. 
 
CHAPTCP XVII. 
 
 Transparencies are treated in a similar manner to lan- 
 tern slides. They may be made on any ordinary plate, 
 or special plates are made for the purpose, havinj/ 
 ground glass or opal backings. There is also on the 
 market a special plate for lantern slides and transpar- 
 encies, known as G. B. P. R., which by special develop- 
 ment produce either green, blue, purple or red, or the 
 intermediate shades. Special directions accompany 
 these plates. The transparency should be developed a 
 little stronger than lantern slides. After fixing and 
 washing, the transparency should be backed with a 
 piece of ground glass, the film, of course, being pro- 
 tected by the glass. 
 
 Should the amateur so elect he can make blue trans- 
 parency plates by giving a previously well cleaned glass 
 a thin coating of gelatine and when this is dry sensi- 
 tizing it with the solution described on page 138, for 
 making blue print paper. The sensitizing liquid is not 
 applied with a brush but is poured on the center of the 
 plate, allow^ed to spread to the edges and the surplus then 
 poured off from one corner. The plate is then printed 
 under the negative and developed the same as you would 
 blue print paper. The depth to which to print may be 
 judged by making a plue print from the negative first 
 
 210 
 
IN THEORY AND PRACTICE, 211 
 
 and giving the transparency the same time that you did 
 the blue print, or the negative can be wedged into tht: 
 corner of the frame and the transparency plate placed 
 in the same corner exactly. It can then be removed and 
 examined and replaced in the same place. If it be de 
 sirable to place it in any other position than the corner, 
 guides made of cardboard can be fastened to the frame, sti 
 that the negative can always be replaced in the same 
 position. It is always desirable to have a frame oi 
 border of white glass around the transparency and this 
 can be effected by cutting the film with a sharp knife 
 and removing the surplus from the glass while it is still 
 damp. 
 
 Transparency frames, made of metal, with rings to 
 hang them up b}', may be purchased from photo supply 
 houses. These frames are made for both horizontal and 
 upright pictures, in all the regular sizes in which dry 
 plates are made, from 4X 5 to ii x 14. 
 
 There will come a time when the amateur who pos- 
 sesses a 4x5 camera and who is perfectly satisfied with 
 the quality of his negatives, will feel a longing for a 
 larger size. As stated on page 12, the larger the camera 
 the greater the expense for plates, trays, paper, etc. and 
 not only this, but the greater becomes the burden when 
 you go out for an outing with a dozen plates. A 4 x 5 
 negative will always make an 8 x 10 bromide print and 
 if there is plenty of detail, it will even stand enlarging 
 to II X 14 on Royal Bromide. 
 
212 MODERN PHOTOGRAPHY 
 
 When etilargements are spoken of they usually mean 
 bromide prints larger than the original negative but en- 
 largements in the way of negatives may also be made 
 within the limits of the largest plate which your camera 
 will take. For example, an enlarged positive or trans- 
 parency can be made in the camera as lantern slides are 
 made. Special cameras are made for enlargements 
 but they may also be made with the regular camera, by 
 the use of a box and focusing cloth, as described for 
 making lantern slides. These special cameras are sim- 
 ilar in construction to the lantern slide camera shown 
 in Fig. 47, except that they are made to take larger 
 plates and the bellows is therefore not only larger, 
 but longer. To make the matter sure, let us imagine 
 that the camera shown in Fig. 47 is five feet long and 
 will take plates up to 11 x 14. If now we desire to copy 
 a photograph in the same size, our lens having a focal 
 length of 4 inches, we would then place it in one of the 
 kits in the front of the camera and draw back the center 
 partition, which holds the lens, twice the focal length of 
 the lens, or 8 inches and slide the ground glass until it 
 was the same distance from the center of the lens. If 
 we wished to double the enlargement we would make 
 the distance from the center of lens to negative 6 inches, 
 and from center of lens to ground glass 12 inches. The 
 annexed table of enlargements is from the " British 
 Journal Almanac " and will be found valuable when 
 making enlargements and reductions: 
 
IN THEORY AND PRACTICE. 
 TABLE FOR ENLARGEMENTS. 
 
 213 
 
 Focus OF Lens. 
 
 Times of Enlargement and Reduction. 
 
 Inches. ^^ 
 
 2 
 In. 
 
 3 
 In. 
 
 4 
 In. 
 
 ll 
 
 6 
 In. 
 
 7 
 In. 
 
 8 
 In. 
 
 2 
 
 4 
 
 4 
 
 6 
 3 
 
 8 
 
 214: 
 
 10 
 
 2K 
 
 12 
 
 2| 
 
 14 
 
 2K 
 
 16 
 
 2f 
 
 18 
 
 2X 
 
 2K 
 
 5 
 
 5 
 
 7K 
 3K 
 
 10 
 
 I2K 
 
 3>^ 
 
 15 
 
 3 
 
 I7K 
 
 2}1 
 
 20 
 
 2? 
 
 22^ 
 
 2l6 
 
 3 
 
 6 
 6 
 
 9 
 
 4^ 
 
 12 
 4 
 
 15 
 3^ 
 
 18 
 31 
 
 21 
 
 24 
 
 31 
 
 27 
 3^8 
 
 3K 
 
 7 
 7 
 
 5X 
 
 '4 
 
 4% 
 
 i7y2 
 
 21 
 
 4^ 
 
 24'^ 
 4A 
 
 28 
 4 
 
 31K 
 
 311 
 
 4 
 
 8 
 8 
 
 12 
 6 
 
 16 
 
 5X 
 
 20 
 5 
 
 24 
 41 
 
 28 
 
 4% 
 
 32 
 4f 
 
 36 
 
 4>^ 
 
 VA 
 
 9 
 9 
 
 I3>^ 
 6|< 
 
 18 
 6 
 
 22K 
 
 SH 
 
 27 
 51 
 
 3i>^ 
 53^ 
 
 36 
 
 5f 
 
 40^ 
 5-iV 
 
 5 
 
 10 
 10 
 
 15 
 
 7K 
 
 20 
 
 6% 
 
 25 
 6^ 
 
 30 
 6 
 
 35 
 
 51 
 
 40 
 
 5^ 
 
 45 
 SH 
 
 SA 
 
 1 1 
 II 
 
 8X 
 
 22 
 7>^ 
 
 27K 
 6?^ 
 
 33 
 6/2 
 
 38^ 
 
 44 
 6f 
 
 49^ 
 6i\ 
 
 6 
 
 12 
 
 12 
 
 18 
 9 
 
 24 
 8 
 
 30 
 
 7K 
 
 36^ 
 
 7/6 
 
 42 
 7 
 
 48 
 6? 
 
 54 
 6^ 
 
 7 
 
 14 
 14 
 
 21 
 
 28 
 
 9K 
 
 35 
 
 834: 
 
 42 
 8f 
 
 49 
 
 8/6 
 
 56 
 8 
 
 63 
 
 7^ 
 
 8 
 
 16 
 16 
 
 24 
 12 
 
 32 
 10% 
 
 40 
 10 
 
 48 
 9i 
 
 56 
 
 9M 
 
 64 
 
 9^ 
 
 72 
 9 
 
 9 
 
 18 
 18 
 
 27 
 
 36 
 12 
 
 "^5 , 
 iiX 
 
 5i 
 
 63 
 
 72 
 io| 
 
 81 
 10% 
 
 The proper use of this table can be understood from tlie examples given on the 
 annexed page where the amateur desired to make a negative in tiie same and double 
 the size, with a lens of 4 inch focal length. Let us take the last as an example: He 
 consults the head of the table under " Times of Enlargement," and as he wants a 
 double size he looks at the column headed 2. He then consults the left hand col- 
 umn, running his eye down it until it strikes the focal length of his lens or 4. 
 Where these two lines meet he finds the figures 12 and 6. the former being the dis- 
 tance from center of lens to sensitive plate and the latter from center of lens to 
 negative In reducing any given number of times the same operation is repeated 
 but in this case the larger number will represent the distance from the center of 
 lens to the negative or picture to be copied and the lesser number represents the 
 distance in inches from the center of lens to sensitive plate. 
 
2T4 MODERN PHOTOGRAPHY 
 
 Now we have several times made use of the expres- 
 sion, focal length, when speaking of lenses and it may 
 be possible that the amateur does not know the focal' 
 length of his lens, or how to determine it. For this rea- 
 son we will endeavor to explain in simple language, how 
 to determine the focal length of any lens. With a rule 
 measure off on a piece of white paper 12 inches exactly, 
 making two distinct black marks just 12 inches 
 apart. Take your camera, paper and rule out into the 
 yard or lawn. Pm the paper upon the side of the house 
 or on the fence, choosing a place where you can set 3'our 
 camera at some considerable distance from it. With the 
 aid of the rule mark off three inches on your ground 
 glass, drawing two lines on the rough side of the glass 
 with y()\ir lead pencil. Using the largest stop, proceed 
 to bring your camera nearer to or farther from the sheet 
 of paper on the wall until the two lines on the ground 
 glass register, or come exactly over the two lines on the 
 paper vhen viewed through the ground glass. With 
 the aid of the rule, or a tape measure, proceed to 
 measure the exact distance from the crround glass to the 
 wall on yhich the paper is pinned. Having found this 
 distance to be 25 feet, we proceed as follows: We 
 divide the 12 inches marked on the paper by the space 
 marked on the ground glass, or three inches. This 
 gives us as a quotient 4, which is the proportion existing 
 between the subject and the image. To this quotient 
 we add [, making it 5, and then square it, or in other 
 
IN THEORY AND PRACTICE. 21$ 
 
 words multiply it by itself and the result is 25. We now 
 multiply the distance from ground glass to paper, or 25 
 feet, by the proportion, or 4, which gives us the product, 
 100. This we divide by the 25 secured by adding i 
 to the proportion 4 and squaring it and the result will 
 be the focal length of the lens, or 4 inches. To be sure 
 we have made it clear, let us repeat: 
 
 12 ins., size of paper; 3 ins., size of image; 25 feet, distance from 
 wall; 4, the proportion. 
 
 12 -7- 3 = 4; 25 X 4 = 100; 4 + I = 5; 5 X 5 = 25. 
 
 100 H- 25 = 4, the focal length of lens. 
 Enlarged bromide prints can be made by the amateur 
 by means of any ordinary camera which focuses from 
 the front and the necessary adjuncts are very inexpen- 
 sive. These enlargements can be made in the daytime 
 or during the evening, the source of light being the only 
 difference. If they are made in the daytime, a room 
 having but one window and that one facing the north, 
 should be selected. Procure a few sheets of heavy red 
 express paper, the kind used for doing up large packages. 
 Measure the size of the window, including two inches on 
 each side and the top and bottom. Glue two or three 
 sheets of this paper together until you have a sheet which 
 is large enough and then trim it to the required size. Put 
 this sheet up in the window casing and hold it in position 
 by means of thumb tacks. Draw a kitchen table close 
 up to the window and place upon it a box which will hold 
 your camera. Now place your camera on the box, the 
 lens pointing into the room. With a lead pencil, mark 
 
2l6 
 
 MODERN PHOTOGRAPHY 
 
 Fig. so. 
 
 an oblong on the paper the exact size of your negative, 
 cut a piece from the paper this size, so that when the 
 camera is backed up to the window all the light will 
 come in through the camera and lens. Now glue some 
 wooden strips around this opening, 
 on each side and the bottom and push 
 three thumb tacks into the wood, so 
 that the negative can be dropped 
 in from the top and will be held in 
 position by the thumb tacks, as 
 shown in Fig. 50. All the prelimin- 
 ary arrangements can of course be 
 made by gaslight. A drawing 
 board, a baking board or any other 
 smooth piece of lumber, should now be selected for 
 holding the bromide paper. This can be held in a ver- 
 tical position by means of triangles or brack- 
 ets screwed to the back, as shown in Fig. 
 51, or by making a groove in a piece of 
 2x4 lumber and inserting the board in 
 the groove, as shown in Fig. 52. The 
 board may also be held in position by 
 tying it with a piece of string to a soap 
 box. To this board fasten a large sheet of 
 white paper and place the negative in the 
 groove in the window. The ground glass 
 is now removed from the back of the camera and that 
 instrument drawn close up to the opening. Select the 
 
 l-'ir- St. 
 
IN THEORY AND PRACTICE. 21*J 
 
 largest stop or diaphragm and open the shutter and 30U 
 will find an image on the white paper when you turn out 
 the gas. Push the drawing board to and fro until you get 
 the enlargement of the proper size and in the center of the 
 sheet. Now by racking the camera bellows in and out, 
 proceed to sharpen up the image just as you would focus 
 on the ground glass. If the negative was 
 turned upside down and with the film to- 
 wards the light, you will have an image just 
 as the scene appeared in nature. You can 
 now continue further operations by means of 
 the dark room lantern. If an}- light leaks in 
 Pu] around the camera where it joins the window, 
 
 ~ shut it out bv means of the focusinfj cloth, for 
 
 Fig-. S3- ' .... 
 
 there must be no white light in the room aside 
 
 from that which comes in through the negative and 
 
 lens. With a lead pencil indicate the image on the 
 
 white paper so you will know just where to locate 
 
 the bromide sheet. You now close the shutter or 
 
 cap the lens and opening the envelope containing the 
 
 bromide paper, you proceed to place a sheet in the 
 
 proper position by means of the marks made and hold it 
 
 flat, avoiding all wrinkles, by means of four thumb tacks. 
 
 You are now ready to make the exposure but before 
 
 doing it, it would be wise to first try a small piece of the 
 
 paper in order that you may make sure of the time. 
 
 There is no rule that can belaid down as to time, any more 
 
 than we could do in making a negative. The sensi- 
 
2l8 MODERN PHOTOGRAPHY 
 
 tiveness of the paper, the density of the negative and the 
 brightness of the light are all factors on which the ex- 
 posure depends. We can only determine the proper 
 exposure by experiment but it is not necessary to spoil 
 full sheets in order to determine the correct exposure. 
 The best way to do this is to cut a narrow strip from 
 one of the sheets and pinning it in position proceed to 
 expose it as follows: Pin a sheet of paper, white o»" 
 colored, over the bromide strip so as to cover three- 
 quarters of it and then opening the shutter give it a 
 half minute exposure; close the shutter and pin the 
 sheet so it covers one-half of the bromide slip and again 
 expose for half a minute and so on until the last quar- 
 ter of the sheet is exposed. It will be evident that we 
 now have a strip of bromide paper with four separate 
 exposures on it, one of a half minute, one of a minute, 
 one of a minute and a half and one of two minutes. By 
 developing this strip we can readily determine which is 
 the best exposure for our negative and govern ourselves 
 accordingly. The larger we make the bromide picture, 
 the longer will be the exposure required. Now, before 
 making the exposure on the large sheet, proceed to stop 
 down to say y" i6, as this will sharpen up the image con- 
 siderably but will increase the length of time of exposure, 
 the stops working just as ti^ey do in makmg a negative. 
 What we said in regard to the camera facing the sky 
 when making lantern slides, holds equally good in 
 making bromide enlargements. If your window will 
 
IN THEORY AND PRACTICE. 
 
 219 
 
 not admit of an uninterrupted view of the sky, then you 
 will have to place a sheet of white cardboard just out- 
 side your window, on an angle of 45'', so as to reflect the 
 light from the sky through the negative. Fig. 53 will 
 give you a general idea of the arrangement of the cam- 
 era, table and bromide paper when making enlarge- 
 ments by daylight. You will observe that it is neces- 
 
 Fig. 53' 
 
 sary to elevate the camera above the general level of the 
 table if we expect to make any material enlargement, so 
 that the lens will come opposite the center of the 
 bromide sheet. 
 
 We will now consider the method of making bromide 
 enlargements at night, using an inexpensive, home-made 
 contrivance, not very handsome but fully as capable of 
 good results as the best enlarging apparatus. Procure 
 a good, sound box, say 14 inches square and another 
 smaller box, say 10 inches square. Remove the cover 
 
220 MODERN PHOTOGRAPHY 
 
 from the large box and cleating it together put on two 
 small hinges, so it will act as a door for this box. In 
 about the center of the bottom a pair of condensing 
 lenses should b'^ fastened. These lenses are used to 
 distribute the light evenly all over the negative, other- 
 wise you would have a bright spot in the middle, with a 
 gradual diminution of light towards the edges. Cut 
 the second, or smaller box, down to say lo x lo x 3 and 
 cut a hole in the bottom of this a little smaller than your 
 negative. On the outside of this fasten three strips, with 
 thumb tacks projecting over the edge for the reception 
 of your negatives, as described when making enlarge- 
 ments by daylight, or grooved pieces can be used and 
 the negative slide in the grooves. This smaller box 
 should be fastened to the larger one so that the negative 
 will come opposite the center of the condensing lenses 
 and about three inches from them. Procure an elbow 
 of speaking tube, about four inches long and cut a hole 
 in the top of the large box so this tube will fit into it 
 friction tight. Turn the opening of the tube towards 
 the door in the box. In the box place a gas stand with 
 a Welsbach burner, or what is better if you have it, an 
 acetylene gas bicycle lamp. Any good oil bicycle lamp 
 will answer but the purer and stronger the light the 
 shorter the exposure will be. The flame of the lamp 
 should be in line with the center of the condensing lenses. 
 Remove the ground glass from your camera and back 
 the camera up to the small box holding the negative. 
 
IN THEORY AND PRACTICE. 
 
 221 
 
 Prop up the camera on a small box so that the opening 
 which was occupied by the condensing lenses will be 
 exactly opposite the negative. Make two wooden trian- 
 gles and screw them to the back of a drawing board, to hold 
 it in a vertical position, as explained when making enlarge- 
 ments by daylight. Make everything light-tight by 
 pasting red express paper over any cracks in the boxes, 
 or where the two boxes join one another. Throw the 
 
 Fig. 34- 
 
 focusing cloth over the joint between the camera and 
 box, to shut in any light which might escape. When all 
 is ready, light the lamp and proceed to focus on a piece 
 of white paper on the drawing board, as previously ex- 
 plained. Fig. 54 may help the amateur to understand 
 moi:e readily the above description. Enlarging by 
 means of artificial light is more reliable than by day- 
 light, for the source of light, as a usual thing, is constant, 
 while with nature the light varies considerably every 
 few minutes, owing to passing clouds. 
 
 Should we wish to enlarge say 34x5 negative to 
 8 X 10 in size and leave a white margin around the 
 
222 Modern photograph v 
 
 print, we can readily do so by pasting a strip of black 
 paper all around our 4x5 negative on the glass side, or 
 we can do so by cutting a mask and placing it over the 
 bromide paper when we get it in position. We can also 
 vignette very nicely on bromide paper by taking a large 
 sheet of cardboard, cutting a hole of the right size and 
 shape in the center and moving it back and forth be- 
 tween the lens and the image on the bromide paper. A 
 little thought will show you that the nearer you bring 
 this vignetter to the bromide paper the smaller the circle 
 of light and the closer you bring it to the lens the larger 
 the circle of light which will fall on the paper. It is 
 evident, therefore, that to vignette softly from the cen- 
 ter to the edges that the screen or vignetter must be 
 kept constantly in motion from the lens to the paper 
 during the entire exposure. To get good, soft effects it 
 will be found better to stop down the lens pretty well so 
 as to prolong the exposure somewhat, sa}- to_/"32. Cut 
 masks of various shapes may be purchased from most 
 of the large photo supply houses and these may be em- 
 ployed successfully by placing them over the negative 
 when making bromide enlargements. The development, 
 fixing and washing is the same as for bromide prints 
 made by contact, as described on pages 145 and 146 
 but enlargements should be placed in a tray of clear 
 water for a few minutes prior to development. The 
 mounting can be done on a card, or on a piece of linen 
 which has previously been mounted on a stretcher. If a 
 
IN THEORY AND PRACTICE. 2 23 
 
 white margin is left around the enlargement, a line, about 
 a quarter or half inch from the edge of the print, drawn 
 with a ruling pen and India ink, will enhance its general 
 appearance and make it equal, when framed, to the finest 
 steel or copper plate engraving. 
 
 Once the amateur has familiarized himself with the 
 process of enlarging on bromide paper and sees the beau- 
 tiful results that may be secured in so simple and inex- 
 pensive a manner, he may wish to own something better 
 than the crude camera of home-made construction. In 
 this event we should advise the purchase of an Anthony 
 Enlarging Lantern. It is very simple in construction 
 and is capable of making the very best styles of enlarge- 
 ments. It may also be used as a copying camera for 
 making lantern slides. The grooves in the interior admit 
 of changing the relative positions of the negative and 
 the condensing lenses and it occupies a space of only 
 8x15x18 inches. 
 
CHAPTm XVIII. 
 
 The last process, that of trimming and mounting the 
 print, is a simple one and yet how often do we see an 
 otherwise beautiful photograph handicapped by poor 
 trimming and an unappropriate mount. One of the llrst 
 considerations is that the print be trimmed perfectly 
 
 square. This we cannot expect to do by means of a 
 pair of shears, using the eye only as a guide. The I'er- 
 fection Trimming Board, shown in Fig. 55, is an effec- 
 tive method of securing square prints. It consists of a 
 solid wooden tablet with raised edges, containing a card 
 on which are printed diagrams of all the different sizes 
 
 224 
 
IN THEORY AND PRACTICE. 22 5 
 
 in general use, from i}{x 2/4 io Sxio. This diagram 
 is covered with a stationary thick glass on which a 
 movable glass pattern is placed. The print to be 
 trimmed is laid in place under the glass pattern, which 
 is held firmly against the raised edge of the board, to 
 prevent its slipping and with a sharp knife two of the 
 sides are trimmed. The print is then reversed and the 
 other two sides are cut. There are also many excellent 
 trimmers on the market in the form of bench shears and 
 rotary cutters. 
 
 If the amateur has a large number of prints to mount, 
 or should he be so located that he cannot reach a photo 
 supply house readily, it may pay him to make his own 
 mounting paste but as a rule it can be purchased so 
 cheaply in tubes and jars and is so convenient that it 
 will only be in emergency cases that he will want to 
 make it. A good, all-round mounting paste can be 
 made by boiling starch to a very thick paste and then 
 straining it by forcing it through a fine cambric bag. 
 The paste should be so heavy that it will not go through 
 the cambric unless the bag is twisted, thereby forcing it. 
 A little ground alum, dissolved in hot water and mixed 
 with the paste, will prevent it from turning sour. The 
 prints should be laid one on top of the other, face down, 
 on the pasting board and the paste applied by means of 
 a broad, flat brush. It is a mistake to use a small brush, 
 for the print is dry on one end before the other is fairly 
 pasted. 
 
226 MODERN PHOTOGRAPHY 
 
 As to the style and color of the mounting cards, taste 
 alone must dictate, as there are so many colors and fin- 
 ishes on the market and as the subjects of prints differ 
 so materially, no hard and fast rules can be applied but 
 by all means select mounts which have a liberal margin, 
 for nothing looks so mean as a good sized print on a 
 card with a skimpy margm. Our preference is for 
 dark rather than for light mounts and for plain rather 
 than glossy finish on the cardboard. You can make 
 mounts which are highly artistic and different from those 
 usually found on the market. Take a piece of What- 
 man's, or any other rough drawing paper, a little larger 
 than the mount you require. Cut a piece of zinc, say 
 a half inch larger than your usual prints, or about the 
 size of the dry plate you are using. This zinc you can 
 leav^e with a plain square corner, or you can round off 
 the corners, as fancy dictates Place the drawing paper 
 on a smooth piece of board, put the zinc sheet in the 
 center of it and apply pressure, either by putting it in a 
 copying press, or placing a board and heavy weights on 
 the zinc. If sulficient pressure has been applied, the 
 result will be a smooth center in which to mount the 
 print, with a rough border all around it. The smooth 
 sunk surface should be at least a quarter of an inch 
 larger all around than the print. Should you want 
 a mount heavier than the drawing paper alone will 
 give you, then you can paste the drawing paper upon 
 a piece of pulp board but in this event the zinc 
 
IN THEORY AND TRACTICE. 227 
 
 should not be applied until after the paper is pasted 
 in position. 
 
 There are a number of rough papers on the market 
 in white and various tints, which are used as covers for 
 pamphlets and any of them, when backed by a piece of 
 straw board or pulp board and a sunk panel made in 
 them, will make very artistic mounts. Even the com- 
 mon straw paper, such as used by grocers and butchers 
 for tying up packages, if properly treated, makes a 
 very artistic mount by backing it with board, pressing a 
 shape into it and drawing a simple line around the shape 
 with India ink and a ruling pen. 
 
 Don't be afraid to sacrifice a half or even two-thirds 
 of a print in order to secure that which is of interest 
 and the least that you show of the uninteresting the 
 more you accentuate that which is picturesque or 
 artistic. It would be far better to cut down a print to 
 4x4 and thus have an interesting one, than to have the 
 same occupy the center of a 5 x 7 print and the balance 
 of the picture consist of uninteresting foreground of 
 grass and the sides of a like character. Do not cut and 
 slash your print recklessly, otherwise you may cut it down 
 too much. Go at it systematically. Take four pieces of 
 colored cardboard or paper and lay them over your print 
 so as to form a frame, cutting out that which you think 
 of least interest. Now, by drawing in and extending out 
 the four limbs of the frame, you can judge very accurately 
 how your print will look when cut to a certain size. 
 
2 28 MODERN PHOTOGRAPHY 
 
 When your prints are mounted, if a glace finish is de- 
 sired, they should he passed through a burnisher. The 
 burnishing roller should be kept bright and clean and 
 should never be used cold. The prints should be burn- 
 ished within a few hours after they are mounted, or while 
 they are still slightly damp. The prints should be lightly 
 rubbed over with a piece of flannel and white castile soap. 
 A very small quantity of soap is all that is required, other- 
 wise you will gum up the burnisher. Should you desire a 
 glace finish and you cannot afford the luxury of a burn- 
 isher, you can secure it in the following manner. When 
 your prints are all thoroughly washed, lay them out on 
 blotting paper sheets, face up, to dry. When they are 
 thoroughly dry dip the face of the print again in cold 
 water and place them, face down, on a sheet of plate glass 
 or a ferrotype plate and press them into close contact with 
 the face of the plate by passing a squegee roller over the 
 back of the print. An ordinary ferrotype plate will take 
 eight 4x5 prints. When you have them all squegeed 
 down, take up the surplus moisture from the backs 
 with a sheet of blotting paper and stand the plate on 
 edge until the prints are thoroughly dry. With most 
 papers, the prints will have a tendency to stick to the 
 plate and to obviate this, the ferrotype plate should first 
 be treated by rubbing it with a piece of flannel and 
 parafllne solution. This solution can be purchased 
 from your dealer, or it can be made by dissolving paraf- 
 fine in benzine. The paraffine should be shredded 
 
IN THEORY AND PRACTICE. 229 
 
 and placed in a bottle and the benzine added to it. 
 Siiake thoroughly, cork the bottle well and place it in a 
 warm place and the paraffine will gradually be dissolved. 
 The ferrotype plate should be rubbed with this solution 
 before each new batch of prints is applied. A very 
 slight film is all that is required on the plate. If your 
 printing paper is heavy you can mount your prints with- 
 out affecting this finish in the slightest, providing you 
 are not too lavish with your mounting paste. If, how- 
 ever, your printing paper is thin you will have to pro- 
 ceed differently After you have squegeed the prmts 
 down upon the plate, paste the backs of them and 
 squegee a piece of thin paper to the back and allow all 
 to dry. This extra piece of paper will prevent the 
 paste striking through the print and destroying the 
 finish. Do not force the drying of prmts which are 
 squegeed to a ferrotype plate by placing them on the 
 stove, or you will melt the gelatine on the face and make 
 the print stick harder than ever. The surface of these 
 prints sometimes has a higher finish than can be se- 
 cured by means of the burnisher. 
 
 On page 58 we mentioned the scrap book and this, by 
 the way, is a very important thing and no dark-room 
 should be considered complete without one. In this 
 book should be preserved the printed directions which 
 accompany the various makes of plates, developers, 
 papers, etc. and in it you can preserve clippings from 
 trade papers, etc. The book should have an index and 
 
230 MODERN PHOTOGRAPHY 
 
 should be paged, so that when you want a certain 
 receipt or formula, or are at a loss how to proceed, you 
 can consult the index and find the formula or directions 
 instantly. If you take one or more photographic jour- 
 nals and have a number of annuals and books on pho- 
 tography, you can put in a rainy Saturday afternoon to 
 good advantage by preparing an alphabetical index 
 which will show you at a glance just where you can tind 
 an article on a given subject, or any particular directions 
 or formula. Index your periodicals by volume and 
 number, or by year and number, also giving the page 
 and it will save you a world of time and trouble when 
 you wish to read up on any particular subject. 
 
CHAPTIlR XIX * 
 
 The early fathers of photography soon discovered, 
 when they worked with glass plates, that if it was neces- 
 sary to set the camera in a subdued light and point it 
 towards a bright light, the outline surrounding the bright 
 light, instead of being sharp and distinct, was invisible and 
 in its place there was a blurred appearance, a halo, like 
 that sometimes seen around the moon, or the heads of 
 holy personages in the pictures by the old masters. This 
 disagreeable photographic effect is very noticeable in 
 interiors where windows have to be taken and no little 
 trouble and anxiety are sometimes the lot of the pro- 
 fessional photographer, who has to make the picture 
 from whatever point of view his client demands Many 
 a very beautiful photograph of a forest scene too is 
 spoiled by the halation around the leaves of the trees. 
 
 Halation is supposed to be produced, when the plat^ 
 is exposed in the camera, by the rays of light from the 
 window through the trees, or from any highly polished 
 surface, such as silver, passing through the film and being 
 reflected from the back surface of the plate. In all 
 probability the refraction of the light, caused by passing 
 through the glass, plays a very considerable part also. 
 This theory is supported by the fact that very little 
 halation is seen, in celluloid negatives, commonly called 
 
 *ByGeo. J. M.Ashby, Chicago. 231 
 
232 MODERN FHOTOGRAPHY 
 
 "films" where the celluloid support for the sensitive 
 film is comparatively thin and the surface of the celluloid 
 is not so bright as that of glass. 
 
 It has long been known that halation could be reduced 
 or entirely presented by painting the back of the plate 
 with a suitable preparation, but all the methods recom- 
 mended were so objectionable, for one reason or another, 
 mostly tor their messiness, that few photographers cared 
 to adopt them. The effective preparations for backing 
 plates were found to be asphaltum varnish or a solution 
 of burnt sugar, to which some powdered color, prefer- 
 ably sienna earth, was added. This did not appear to 
 satisfy every one, for so recently as in last year's Photo- 
 graphic Journal Almanac, there was a description of a 
 process for backing plates with asphaltum. The author 
 of the paper vaunted this method as being the best of 
 all and stated that " the backing could be veiy easily 
 removed with a carpenter's chisel." 
 
 The same publication contained a paper by another 
 author recommending a solution of burnt sugar for back- 
 ing plates without the admixture of sienna earth or any 
 other coloring matter. The directions for preparing the 
 backing solution were formidable, inasmuch as heating 
 the sugar was said to produce first, caramelane, then 
 carameline and lastly, caramelin. The temperatures 
 were given at which the various substances were formed. 
 Caramelane was not wanted as it had too little coloring 
 property and was hygroscopic, v^ hile the product ot the 
 
IN THEORY AND PRACTICE, 233 
 
 highest temperature, caramelin, was insoluble, so a 
 separation had to be made by means of alcohol in which 
 the carcg;neline was precipitated. Notwithstanding 
 these and more complications I was tempted to try it, 
 partly because of the very sensible plan being recom- 
 mended of applying a thin sheet of paper to the back of 
 the plate upon which the caramel solution had been 
 painted. 
 
 I tried the backing with carameline and found the 
 result in a negative made with a backed plate so much 
 superior to an unbacked one that I determined to back 
 all plates in future. My first solution was made in strict 
 accordance with the directions, carefully observing the 
 temperatures, separating with alcohol, then adding a 
 proportion of carmelane to prevent the backing becom- 
 ing too hard, etc., but when the next lot of backing 
 solution had to be prepared I attempted to simplify the 
 operation and succeeded perfectly. The way I now do 
 it is as follows: 
 
 A pound of the ordinary crystalized sugar, the kind 
 we sweeten our tea with, is put in a frying pan, which is 
 placed upon the kitchen gas stove. The sugar is stirred 
 with an iron spoon — a stick would do as well — this stir- 
 ring is continued the whole time so that the sugar be- 
 comes heated equally throughout. In a few minutes it 
 melts, then changes color, becoming yellow, light brown, 
 dark brown, then very dark. At this moment I pour a 
 few drops of water in from a jug of boiling water that 
 
234 MODERN PHOTOGRAPHY 
 
 has been placed ready to hand. The frying operation 
 is continued, a few drops of water being added from 
 time to time to prevent the sugar from becoming too 
 hard, until it is almost black; then, while it is still hot, I 
 add hot water a little at a time, stirring the while, until 
 the solution is of the thickness of ordinary mucilage and 
 a very dark brown or reddish black color. I pour this 
 into a bottle, whereupon it is ready for use. To about 
 six ounces of the solution I add an ounce of wood alcohol, 
 though I am doubtful of the value of it and the next 
 quantity of backing will have the alcohol omitted. The 
 whole operation does not take more than a quarter of 
 an hour and a pound of sugar will make backing solu- 
 tion to coat two gross of 8x lo plates. 
 
 The next point is the coating or backing of the plates. 
 I like to buy my plates by the gross, then I know that, 
 so long as they last, there is no trouble with variation in 
 the speed of the emulsion. The most convenient time 
 to back plates is when all the family has gone to bed 
 and the gas can be turned out or the electric light 
 switched off everywhere. On a large table I set out 
 four plate-drying racks, these will hold six dozen or 
 more plates. In front of me is the ruby lamp and a 
 saucer with backing solution and in this is a flat varnish- 
 brush, two inches wide. On my right is a pile of black 
 or brown tissue paper, cut to the size for covering the 
 back of a plate nearly to the edge; if I am backing 
 8x ID plates my paper is 7^ x 0% and this size cut into 
 
IN THEORY AND PRACTICE. 235 
 
 four is right for 4x5 plates. All lights being out, except 
 the ruby lamp, a box is opened and a pair of plates 
 taken out and held just as they are packed with their 
 films together, the back of one plate is painted with the 
 solution of caramel, upon this a piece of the tissue paper 
 is laid. The pair is then turned over and the other 
 plate is painted, a piece of tissue paper is spread upon 
 this and the pair of plates is put in the rack to dry. As 
 the two plates are not separated the film surface is not 
 exposed at any time. Another couple of plates is taken 
 out and treated in a similar manner, until all are done, 
 whereupon another box of plates is opened. It will be 
 found that before six dozen plates are backed the first 
 dozen will be found to be dry enough to put back again 
 in the carton or plate box. Even when the backing 
 was not absolutely dry before returning them to the 
 box I have not found any harm result to the plates, 
 though I do not recommend repacking in a moist state. 
 The next thing is the removal of the backing when 
 developing and this is the simplest operation of all; no 
 carpenter's chisel is needed for this. The removal may 
 be said to be automatic, for as the caramel has no effect 
 upon the developer, except, perhaps, that of making its 
 action slightly slower, the plate, with its backing, can 
 be dropped into the developer without further ceremony 
 and in a few seconds the paper is detached from the 
 plate and the caramel is dissolved. As my favorite de- 
 veloper is Tolidol whicii I use over and over again until 
 
236 MODERN PHOTOGRAPHY 
 
 it is exhausted, I prefer to remove the backing and the 
 paper before putting the plate in the developer. This 
 is done with the greatest ease by a few strokes with a 
 small wet sponge. 
 
 The power that caramel has of preventing halation 
 is very remarkable. It occurred to me that a solution 
 of Spanish licorice, being of much the same color as 
 caramel, might answer the purpose as well and dispense 
 with the use of the family fry-pan. I tried this, putting 
 black or brown tissue paper on the back of the plate 
 as in the other case, but the result was a complete dis- 
 appointment; in fact the halation seemed rather worse 
 in a plate backed with licorice than with a plain un- 
 backed plate. 
 
 The two illustrations are of an interior from backed 
 and unbacked plates that received exactly similar treat- 
 ment, both in exposing and developing. The test was 
 sufliciently severe, as the sun was shining upon the 
 window at 4 in the afternoon of a fine, clear day, early 
 in September. 
 
 The subject of halation should not be treated without 
 a reference to the non-halation plates invented, about 
 eight or nine years ago, by Dr. Sandell, in which hala- 
 tion is prevented by the constitution of the film and not 
 by backing. I want to say here that I think it would 
 be a graceful act on the part of our plate manufacturers 
 who use this invention to, at least, give credit to the 
 inventor. 
 
Taken on an Ordinary Plate. 
 
 Taken on the Same Brand of Plates Backed. 
 
IN THEORY AND PRACTICE. 237 
 
 The Sandell non-halation plate is coated with two ot 
 three films of different degrees of sensitiveness, the one 
 film being much more sensitive than another. It is 
 
 Fig. j6. 
 
 probable that where the surfaces of two films unite they 
 form gradations equivalent to having a number of films, 
 each of a different degree of sensitiveness. This very 
 
238 MODERN PHOTOGRAPHY 
 
 largely increases the latitude of exposure, for if one ol 
 the sensitive planes is over and another is under exposed 
 there will be one in between them that will be right; at 
 the same time — in the triple coated plate — halation is 
 effectually prevented. 
 
 The triple coated plate has remarkable properties and 
 a print from a negative, that a friend sent me from the 
 other side, shows this. The photograph is of a power- 
 ful flash light or magnesium torch in front of the lens. 
 There is such a complete absence of halation that all 
 the details of the background are distinctly seen and a 
 man sitting near the magnesium light (I think my friend 
 said this is Dr. Sandell) is perfectly distinct. 
 
 Before I took to backing plates I used the double 
 coated plates for about two years, but found they were 
 not always to be relied upon and halation would fre- 
 quently appear. There is much less pleasure in develop- 
 ing a double or triple coated plate as the details are not 
 so distinctly seen. These plates should be left at least 
 four times as long in the fixing bath. I may say here, 
 that in an acid, chrome-alum and sulphite fixing bath, a 
 plate may remain for a long while without suffering. I 
 once overlooked one of a set of 8 x 10 negatives, leaving 
 it in the fixing box for twelve days and it was not in the 
 least degree the w^orse; it is not possible now to pick 
 out this plate from the others of the set. It should be 
 noted that the plate was on its edge in a grooved fixing 
 box, the only way in which fixing should be done. 
 
IN THEORY AND PRACTICE, 239 
 
 The triple-coated plate is too expensive for ordinary 
 use and I do not consider the double-coated plate quite 
 so good as that with a carmalene backing. Another 
 advantage the photographer has in doing his own back- 
 ing, in addition to the excellent result and the low cost, 
 is that he can use any plate on the market; for my part 
 I always use one of the low-priced plates and shall con- 
 tinue to do so until some one else does better work on 
 the expensive plates than I can on the cheaper ones. 
 
CHAPTER XX * 
 
 The aim of all photographers, whether professional 
 or amateur, is to make a negative which will produce a 
 bright clear picture, (for with a poor negative this is im- 
 possible) and to attain this two things are necessary 
 namely, correct exposure of the plate to the action of 
 light through the lens, and correct development. 
 
 The first of these is the more important, though if the 
 exposure is not correct it is sometimes possible to vary 
 the development *so as to make a fairly good negative 
 from a very badly timed plate. 
 
 I find the main difficulty to all beginners is in not 
 having a clear idea of the simple principles of what 
 governs the timing of a plate correctly, and I shall 
 therefore endeavor to give a few of the more impor- 
 tant factors which come into consideration every time a 
 picture is taken. 
 
 All plates of a certain make and sensitiveness require 
 a certain amount of light admitted to them through the 
 lens in order to effect the proper chemical change to 
 make a good negative. Either more or less than this 
 certain quantity will remove the quality of the resultant 
 negative just so far from perfection. Our object then 
 must be to learn just how much light to admit to the 
 plate. No absolute rule can be laid down for this but 
 
 • By R. D. Cleveland, Chicago. 240 
 
IN THEORY AND PRACTICE. 24I 
 
 each must learn by experience and careful observation 
 after knowing the main principles. 
 
 Now suppose that instead of a camera and lens you have 
 a tin box with a water tap running into it. You are told 
 to let a pint of water into the box as quickly as you can. 
 Of course you open the tap as wide as you can and let it in 
 with a rush and then shut it off. If you are told how- 
 ever to let it in slowly you open the tap only a little way 
 and leave it open much longer. And this is just what 
 should be done with the light on a negative. The amount 
 of light admitted is governed in two ways; by the length 
 of time the lens is opened and by the size of the opening 
 through which the Hght is admitted and the two must be 
 considered together. 
 
 The stops or diaphragms to a lens are for the purpose of 
 sharpening or equalizing the focus but they also limit the 
 admission of light according to the areas of their openings. 
 
 The areas of circles are to each other as the squares 
 of their diameters. The stops to the best lenses now are 
 usually marked with the diameter of the circle propor- 
 tionate to the focal length of the lens. That is, suppose 
 your lens has an eight inch focus, then a stop of one inch 
 in diameter would be marked f 8, and of half an inch 
 in diameter^/" i6. 
 
 Now, no matter what the focal length of your lens, 
 stops of similar marks bear the same relative size to their 
 individual lenses and to each other. To illustrate, if you 
 have one stop marked y" 4, and another y 8, their areas 
 
242 MODERN PHOTOGRAPHY 
 
 would be as 16 to 64 or the larger one would be four 
 times greater than the smaller, would admit four times 
 as much light and therefore would require only one 
 quarter as long exposure in the same light. Oiher size 
 openings of course would be in proportion and the rela- 
 tive areas and limes of exposure v^ery easily calculated. 
 
 Suppose now for instance you know (or think you 
 do,) that you could get a good negative in the i-iooth of 
 a second with an f 4 stop; then with an f 32 stop 
 you would get the same quality negative or admit the 
 same amount of light to the plate in /'j^ of a second. 
 This is one reason why time exposures with small stops 
 are more likely to give good results than instantaneous 
 with large stops. With the large stop just mentioned if 
 you had given the plate yf^ exposure, you would have 
 doubled the time and might have spoiled your negative, 
 while with the small stop to double the exposure you 
 must give about i^ seconds. Thus with the small slop 
 your latitude of exposure is vastly increased and yciur 
 chances of spoiling a plate from either over or under <;x- 
 posure are correspondingly diminished. 
 
 Thus you see the time necessary for a correct (;^x- 
 posure so far as the stops are concerned is always in 
 proportion to their size and this you can calculate ex- 
 actly by knowing their relative diameters. It will be 
 found the least confusing in practice to confine yourself 
 generally to the use of but two stops; the largest one that 
 will cut the plate sharp all over for instantaneous, and 
 
IN THEORY AND PRACTICE. 24.3 
 
 one of the smaller for time. The relative areas of these 
 two can be learned and applied quickly at any time, 
 while more will simply be confusing. For those who do 
 not fully understand the marks on their stops I will say 
 the relative times of exposure are as follows: 
 Assuming^* 4 to be represented by i. 
 
 /4 
 
 /8 
 
 /16 
 
 /32 
 
 /64 
 
 I 
 
 4 
 
 16 
 
 64 
 
 256 
 
 That is f 64 would require 256 times the exposure 
 thaty 4 would in the same light. 
 
 The variations of intensity of the light at different 
 times of day and different seasons of the year have also 
 to be taken into consideration, but this too may be 
 learned quite easily and carried in the head or the mem- 
 orandum book. 
 
 You all know that the light of the sun is strongest in 
 July and that it is much more intense at noon than at 
 nine or four o'clock, and by learning just what this dif- 
 ference is it will help you very materially in correct 
 timing. From the table in the American Annual for 
 1893 page 329 I quote a few figures, and any of you 
 who care to can get more of them. 
 
 At noon in July with a given stop, if you require an 
 exposure of -^^ of a second, at 3 o'clock you require i -^^ 
 seconds and at 6 o'clock 4 seconds. 
 
 In January under similar conditions it would take i j''jj 
 seconds at noon, 4 -^^ at 3 o'clock and 9 at 4 o'clock. 
 
244 MODERN PHOTOGRAPH V 
 
 Now we come to the point of how much we may vary 
 over or under the correct time of exposure and still have 
 a fairly good negative. 
 
 In order to test this roughly I exposed a number of 
 plates on the same object, one after the other, with the 
 lame stop timing them from i to 40 as nearly as possible, 
 and developed them all together. 
 
 They were made on Seed 26 plates on a cloudy day 
 with a single combination Darlot lens with about an 
 /*32 stop and developed with Hydrochinone developer. 
 I numbered them in regular order, and assuming No. 3 
 as 10 they were timed as follows: No. 1,-2; No. 2,-5; 
 No. 3, - 10; No. 4, - 20; No. 5, - 30; No. 6, - 40. No. 3 
 proved the best negative though No. 2 with y^^ less ex- 
 posure and No. 4 with double the exposure of No. 3 
 were also pretty good and with slight care in the develop- 
 ment might easily have been made very good. From 
 this I conclude roughly that we may have a latitude of ex- 
 posure from one half below the best point to one half 
 above and still be reasonably sure of a good negative. 
 
 If you take this latitude with a small stop and long 
 time it is pretty great, but when you have got to measure 
 it in the hundredths or fiftieths of a second as you have 
 to with snap shots it is getting it down pretty fine for 
 most amateurs and they need not wonder when they 
 spoil plates with their kodaks. 
 
 In short it resolves itself into this. When you can get 
 a good negative in the i-iooth of a second, if you give it 
 
IN THEORY AND PRACTICE. 245 
 
 7^7 or yf ^ you may spoil your negative entirely. As a 
 consequence of this knowledge no experienced photog- 
 rapher will take an instantaneous picture when he can 
 possibly get anything else. 
 
 Now having exposed your plates you must develope 
 them, n you have timed them right this will give you 
 no trouble as they will almost develop themselves with 
 any good developer. 
 
 Of developers there are so many good formulas any 
 of which work well that I refrain from giving any. 
 
 I have gotten equally good negatives with oxalate, 
 pyro, hydro., eiko., Rodinal and Amidol and all I can 
 say is, get one that has been well tested by good judges, 
 learn its peculiarites and stick to it. 
 
 On the continent the best photographers still stick to 
 their first love-Oxalate of potassium and iron; while in 
 England I believe the most popular is pyrogallic acid and 
 ammonia. We Americans try every new patent medicine 
 that the dealers advertise as " better than all others " 
 and make ourselves sick if we were not before. 
 
 All plates have full directions for development contained 
 in the box with them and they can generally be followed 
 with good results. If you are uncertain about the 
 correctness of your timing it is best to put the plate 
 first into old or diluted developer and see how it acts. 
 If it blackens all over quickly it is probably over 
 exposed and should be taken out and washed and a 
 different developer used. If it is a long time in show- 
 
246 MODERN PHOTOGRAPHY 
 
 ing the image it is under exposed and should be treated 
 accordingly. 
 
 If very much either over or under exposed and it is 
 something that you can take again, my advice would be, 
 don't waste time on it but throw it away and take an- 
 other. However, it may be your picture cannot be 
 taken again in which case it is worth a little labor. 
 
 If it is under exposed weaken your developer and let 
 there be an excess of alkali in it; cover your tray from all 
 light and let it remain until all the detail is out that will 
 come. Then to strengthen add the normal amount of 
 pyro or hydro solution until the negative is quite black 
 and then put in the hypo. If the plate is over exposed 
 the simplest method is to add a few drops of a 10 per 
 cent, solution of bromide of potassium or ammonium and 
 this will generally correct any but an excessively over 
 timed exposure. 
 
 Practice of exposure with careful note of the time and 
 the resultant negative will soon make you almost certain 
 of your time in any light, and then the development will 
 be very plain sailing. 
 
IDCX 
 
 Actinic Property of Light, 23 
 
 Air Bulb, 108 
 
 Al-Vista Camera, 184-190 
 
 Aristotype Papers, 1 1 1 
 
 Backing Plates, 232-236 
 
 Blisters on Negatives, 8q 
 
 Blue Prints, 109 
 
 Bromide Enlargements, 210-224 
 
 of Silver, 21 
 
 Papers, 143 
 Brown Stains on Negatives, 87 
 Burnishing Prints, 228 
 Cameras, 5-20 
 
 Bellows, 5 
 
 Box, 5-10 
 
 Copying, 212 
 
 Enlarging, 212 
 
 Film, 6 
 
 Fixed Focus, 10 
 
 Folding Box, 12 
 
 Glass Plate, 6 
 
 Lantern Slide, 205-207 
 
 Magazine, 16 20 
 
 Panoramic, 188 
 
 Premo, 10 
 
 Reducing, 212 
 
 Reversible Back, 16 
 
 Stereoscopic, i8o 
 
 to Level, 40 
 Carbon Tissue, 155-166 
 
 Card Mounts, 226 
 Chloride of Silver, 21 
 Chemical Action of Light, 21 
 Cloud Photography, 191-196 
 Color Photography, 191-196 
 Screens, 26, 191 -196 
 Sensitive Plates, 25 
 Constituency of Plates, 22 
 of Light, 23 
 Crystalization on Negatives, 88 
 Cutting Down Prints, 227 
 Dark Rooms, 53-59 
 
 to Ventilate, 59 
 Delta Matt Papers, 132 
 Developing, 44-52 
 
 Films, 74 
 
 Papers, 109, 134-152, 
 
 155-166 
 Tray, 45 
 Developers, 48, 67-76, 150-152, 245 
 Amidol, 68 
 Bromo - Hydrochinon 
 
 73 
 Carbutt's,68, 70, 72, 73 
 Cramer's, 71, 72, 73 
 Eastman's, 73 
 Eikonogen,68, 72-74 
 Glycine, 74 
 Hammer's, 70, 71 
 Hydrochinon, 68, 71 
 
 247 
 
248 
 
 INDEX. 
 
 Developers, Hydrochinon, 72,73,74 
 Metol, 68, 71, 72 
 Metol-Bicarbonate, 72 
 Metol - Hydrochinon, 
 
 68, 71, 72 
 Pyro, 48, 67, 69-72 
 Pyro-Metol, 68 
 Pyro-Soda, 69, 70 
 Rodinal, 68, 75-152 
 Seeds, 48, 69, 72 
 Stanley's, 70, 71 
 Tolidol, 152 
 Transparency, 73 
 
 Diaphragms or Stops, 240-244 
 
 Double Toning, 117 
 
 Drying Negatives, 64 
 Racks, 46 
 
 Dusting Plates, 108 
 
 Enlargement on Bromide, 210-224 
 Table for, 213 
 
 Enlarging Lantern, 223 
 
 Er>*thro Plates, 25 
 
 Exposing the Plate, 39 
 
 Exposure, 23 
 
 for Night Photography, 
 
 178 
 Record, 34 
 
 Factors, 67, 68 
 
 Ferrogallic Papers, 140 
 
 Films, Developing and Fixing, 74 
 
 Fixing Baths, 77 
 
 Covers for, 64 
 
 Fixing Box, 45 
 Films, 74 
 
 Flash Light Photography, 197-200 
 
 Focal Length of Lenses, 214 
 
 Focusing, 42 
 
 -. Cloth, 40 
 Fog on Negatives, 91 
 Freak Photographs, 167 
 Frilling of Negatives, 89 
 Funnels, 47 
 
 Glace Finish on Prints, 228 
 Gold Baths for Aristo, 122 
 
 For Delta Matt, 134 
 
 For Uranium, 142 
 Graduate, 47 
 
 Green Fog on Negative, 88 
 Halation, how Produced, 231 
 
 to Avoid, 173, 232 239 
 Holders, Plate, 32 
 Home Made Mounts, 227 
 Ideal Duplicator, 171 
 Imitation Moonlight Photographs, 
 172 
 
 Oil Paintings, 168 
 Intensification, 79-84 
 Intensifier, Mercury, 79 
 
 Carbutt's, 82 
 
 Cramer's, 81 
 
 Uranium, 83 
 Isochromatic Plates, 25 
 Kirkland's Lithium Paper, 130 
 Lantern Slides, 201-209 
 Length of Exposure, 244 
 Lenses, Focal Length of, 214 
 Leveling the Camera, 40 
 Lightning Photography, 175 
 Loading Plate Holders, 29 
 Local Reduction, 85, 86, 87 
 Monocrome Papers, 141 
 Moonlight Photographs, 172 
 
INDEX. 
 
 249 
 
 Mottled Negatives, 88 
 Mounting Cards, 226 
 
 Enlargements, 222. 223 
 Paste, 225 
 Mounting Prints, 224 
 Multiplex Device, 171 
 Negative Covers, 64 
 Negatives, Blistered, 89 
 Brown, 87 
 Crystalized, 88 
 Fogged, 91 
 Frilled, 89 
 Mottled, 88 
 Retouching, 97-105 
 Spotting Out, 93 
 Streaked, go 
 Weak or Thin, 88 
 Yellow, 87 
 NighfPhotography, 176 
 Non-Halation Plates, 173, 176,236 
 Orthochromatic Plates, 25 
 Panorama Cameras, 186-190 
 Panoramic Photographs, 186 190 
 Photographic Plates, 21 
 Photographing by Flash Light 
 197-200 
 
 Clouds, 191 -196 
 at Night, 176 
 Lightning, 175 
 Photographs, Several on one Plate, 
 
 169- 1 81 
 Plate Holders, 32 
 
 How to Back, 232-236 
 How to Expose, 39 
 Lifters, 46 
 to Dust, 108 
 
 Plates, Banner, 27 
 
 Carbutt, 27 
 
 Color Sensitive, 25 
 
 Cramer, 27 
 
 Crown, 27 
 
 Eclipse, 27 
 
 Erythro, 25 
 
 Hammer, 27 
 
 Isochromatic, 25 
 
 Orthochromatic, 25 
 
 Photographic, 21 
 
 Seed, 27 
 
 Sensitometer of, 27 
 
 Stanley, 27 
 Platinum Toning Bath, 119, 124, 
 
 133. 153 
 Platinotype Papers, 152 
 Portraits, to Retouch, 97-105 
 Preservation of Chemicals, 68 
 Printing and Toning, 106-166 
 Printing Frames, 106, 187 
 
 Panoramic, 187 
 Printing Papers, Aristo, 1 12-130 
 Blue Label, 112 
 Blue Prints, 135 
 Bromide, 143 
 Carbon, 155-166 
 Delta Matt, 132 
 Ferrogallic, 140 
 Junior Aristo, 112 
 Lithium, 130 
 Monochrome, 141 
 Platinotype, 152 
 Uranium, 142 
 Velox, 150 
 Pure Water 129 
 
250 
 
 INDKy 
 
 Racks, Drying, 46 
 Ray Filters, 26, 191-196 
 Record of Exposure, 34 
 Reducers, 84-87 
 
 Alcohol, 86. 87 
 Reducers, Belitzki's, 85 
 
 Hammer's, 84 
 
 Lainer's, 85 
 Reduction, Local, 85, 86, 87 
 Restrainers, 77 
 Retouching Negatives, 97-103 
 
 Stands, 98, 101 
 Rodinal, 68, 75, 152 
 Ruby Fabric, 28 
 
 Lamps, 28, 57 62 
 Scrap Book, the, 230 
 Sensitometer of Plates, 2"] 
 Sepia Tones on Platino, 1 16 
 Silhouette Pictures, 199 
 Single Toning for Aristo, 1 19 
 Sizes of Stops, 241 
 Slides, Lantern, 201-209 
 Snap Shots, 41, 244 
 Spotting Out, 93 
 
 Stereoscopic Cameras, 180-186 
 
 Photography, 180-186 
 Pictures, with Ordi- 
 nary Camera, 182-184 
 
 Stops or Diaphragms, 240-244 
 
 Streaks on Negatives, 90 
 
 Table of Enlargements, 213 
 
 Time Exposure, 42 
 
 Tolidol, 75, 76, 152 
 
 Transpariencies, 210-213 
 
 Transparent Spots on Negatives, 90 
 
 Trays, Developing, 45 
 
 Trimming and Mounting Stereo- 
 Pictures, 184-186 
 
 Trimming and Mounting Prints, 
 224 
 
 Tripods, 37 
 
 Uranium Papers, 142 
 
 Use of Stops, 240-244 
 
 Velox Papers, 150 
 
 Ventilation for Dark Rooms, 59 
 
 Water, Pure, 129 
 
 Weak Negatives, 83 
 
 Yellow Negatives, 87 
 
Western Thought 
 Western Pictures & 
 Western Liee 
 
 ARE PRESENT IN 
 EVERY COPY OF 
 
 c 
 
 One dollar and 
 a half a Year. 
 Sample Copy 
 fifteen cents. 
 
 Catnera Craft, 
 
 m FRAXCISCO, CAL. 
 
This is one of three 
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 Acme 
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 ^are made, and they 
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 They improve a print 
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Bvcry Hmateur 
 photographer sh^ld 
 Okvh a copy of 
 
 )Vl2^S!2 printing 
 processes 
 
 CcUs att about how to 
 make Gum-Elehromate 
 Prittte, and valuable 
 pottitera on the i!«^rking 
 of platinum papers* 
 
 Cells how to make two 
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 In Cloth Binding, as ets. 
 3rt paper Covers, 25 ct». 
 
 373 Dearborn 8t* 
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 Stnd for Hmateur phet0 CAtato^utr 
 
lu can make Good Negatives 
 from poor ones by reading 
 
 Improving tbc 
 
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 ulation of the Negative 
 with a view to its 
 improvement. />? Local 
 intensification and re- 
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 and colors. Reduction 
 by use of abrasives. ^ 
 
 70 Pa^es Illustrated. 
 Mailed for 25 cents. 
 
 MONEY "BACK IF NOT EN- 
 TIREL Y SA TISF ACTOR Y, 
 
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 Chicago 
 
Instantaneous Exposures 
 
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» ¥ 
 
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 rf> ivlCfDt" is a Monthly Magazine for Amateur ♦ 
 
 J Photographers. It gives the amateur ^ 
 
 ♦ Light on things Photographic. It sheds J 
 if> Light on how to accompHsh the best ♦ 
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 » ♦ 
 
CARBUTT'S 
 
 NOT IN ANY TRUST 
 
 Dry Plates, Celluloid Films 5£"eU 
 and Photo Specialties .... 
 
 For Autumn Foliage and Flash Light Expo- 
 sures Use Carbutt's Ortho Plates with Columbian 
 Backing, Which are guaranteed for two years. 
 
 Carbutt's fletoNHydro 
 Developing Powder . . 
 
 A Universal Developer. Equally good for expo- 
 sures on Plates or Films, Transparencies, and our 
 Vinco Bromide Paper. Put up in vials, in two sizes. 
 Six small size, 25.; six large size, 50. Mailed post- 
 paid on receipt of price. Send for circulars and 
 price list. 
 
 T T'T'l^T/'^/^ The most perfect Developing Paper yet pro- 
 V liNv^vy duced. Quality Highest. Price Lowest. 
 
 One dozen pieces 4x5, or cabinet size, with package of M. H. 
 Powder, including a print on VINCO, mailed to any address 
 upon receipt of 25 cents. 
 
 CARBON MATT, Glossy and Rough, for Contact Printing. 
 
 SPECIAL RAPID, for Portraits, enlarging and Contrasty 
 Negatives. 
 
 Manufactured by JOHN CARBUTT, 
 
 (Pioneer Manufacturer of Gelatino-Bromidc 
 and Orthochromatic Plates in .America.) 
 
 KEYSTONE WayHC JunctioH, 
 
 DRY PLATE AND FILM .^. .. ^ . . . 
 
 WORKS Philadelphia, Pa. 
 
for errors in 'Del^eloping your Plates, 
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 The COMBINED AUTOMATIC DEVELOPING and 
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 could accomplish by careful watching. No harm done if 
 Plate is left in Solution too long. 
 
 For"VELOX" or Gaslight paper, use "BOFLAY" No. 2. 
 It SLOWLY DEVELOPS and then FIXES in the ONE 
 SOLUTION — will not over develop, therefore no waste of 
 paper. Gives PURE WHITES and JET BLACKS, pre- 
 serving the delicate details. ANY NUMBER of PRINTS 
 can be DEVELOPED at ONE TIME, as no watching is 
 necessary. Samples by mail 15 cents each, or at all 
 dealers. Send for Pamphlet H. Sole Manufacturers 
 
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 mwarK, n. %, u. s. n. 
 
IT WILL F/IT YOU WELL 
 
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 in retorn ^ J- 
 
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 IT WILL S/lYE TOM nOMET 
 

 
 
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 . ; :: i., sunt waaex {txnosmt »ccu« 
 
 
 
 £ri 
 
 
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 II II II II II II II II II nil u II 11 11 1 . 
 
 77 'm ;; ',' '}'. 1: it ;; ti " •J? ?f 7r 7^7^'7-' -'-- "- 
 
 1 
 
 
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 irit';?i"'j?-HrI'r*'' ■ ^4^;;''* ■'•- • • - ^ «4 ' t < ' "\' A^*J.«;*J,«£~j^^ 
 
 J 
 
 The best of us make mistakes in 
 Exposure, sometime, but with a o* 
 
 mm - exposure ^ Scale 
 
 Mistakes are impossible. 
 
 It s ALL BEFORE YOU AT A GLANCE, and there s 
 absolutely no mental arithmetic nor referring to tables. 
 
 Results are found in five to ten seconds, correct expos- 
 ures for interiors as well as for outdoor views are given, and 
 no sensitized paper is used to obtain the results. 
 
 No indicator made has one-half the good points of THE 
 WAQER, and no indicator made has a single good point 
 which THE WAOER does not also possess. 
 
 By mail, post paid, 50c. All aluminum with celluloid 
 sides, Si.oo. Your money returned if you do not like it. 
 
 Drop us a postal for our booklet P, it contains lots of 
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 WAGER EXPOSURE SCALE CO. 
 
 Box 539 Philadelphia. 
 
Cbc "Rex 
 
 ff 
 
 King of all flash Light jMachines, 
 
 Safe! 
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 Gconomical ! 
 jviodcratc tn price! 
 Cbrcc styles! 
 
 You cannot afford to 
 endanger your life or 
 your eyesight by using 
 faulty machines. 
 
 The "Rex" does 
 not employ a fuse, cap 
 or match. Never fails 
 to go when you want 
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 prematurely. 
 
 No. I. " Rex " Hand Lamp $i 50 
 
 No. 2. '• Rex " Flash Lamp, Solid Metal Rods and 
 
 Metal Tripod 3 50 
 
 No. 3. " Rex " Flash Lamp with Telescopic Lac- | 
 
 quered Metal Tubes and Metal Tripod 5 00 
 
 Geo, K, Razlitt & Co., 
 
 Sole )>lanufacturcrs 
 373 Dearborn Street, f bicago. 
 
 JS^Send for Descriptive Circular. • 
 
You Gin \KiK\\ 
 
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