THE 
 
 Amateur Photographer 
 
 A COMPLETE GUIDE 
 KOR BKGINNERS 
 
 IN THE ART-SCIENCE OF 
 
 PHOTOGRAPHY 
 
 — BY — 
 
 W. F. CARLTON. 
 
 THIRTEENTH EDITION. 
 REVISED. 
 
 ROCHESTER, N. Y., i898. 
 
INTRODUCTION. 
 
 • . X • • 
 
 PHOTOGRAPHY offers more attractions than any 
 of the Arts heretofore introduced in popular form, 
 for while it answers fully the requirements of mechanical 
 taste, it offers constant opportunity for the exercise of 
 higher intellectual qualities. 
 
 The simplification of Photographic processes made 
 within the past few years, the extensive preparation, 
 commercially, of Gelatine Dry Plates, make the success- 
 ful pursuit of this most pleasing occupation, especially in 
 its application to landscape and tourists purposes gen- 
 erally, within the comprehension of any person of average 
 ability. 
 
 Amateur Photography is growing more and 
 more in favor throughout the civilized world. Formerly, 
 lovers of the beautiful tried to garner up the choice 
 views of nature by sketches with the pencil. Now they 
 save not only the outlines, but the detail as well, with 
 the Camera. 
 
 The love of the beautiful is innate in the human mind, 
 and this fact will make photography grow still more, for 
 what can be more beautiful than a Photograph ? 
 
iv. 
 
 INTRODUCTION. 
 
 IPhotography is almost entirely the product 
 of amateur effort and experiment. Experiment and 
 investigation of phenomena, when intelligently pursued, 
 are commendable and generally fruitful of good results, 
 and Photography tends more than any other art to stimu- 
 late observation of both common and uncommon things 
 and events. 
 
 It is not within the province of this book to go into 
 abstruse demonstrations of optical, chemical or mechan- 
 ical facts, but by the simplest known processes to direct 
 beginners in the steps necessary to success, leaving to the 
 final master of all crafts — experience — the determination 
 of the measure of success. 
 
 The formulae given are the simplest and best known, 
 and are selected with especial reference to their use by 
 amateurs. 
 
 The author does not claim originality in the formulae 
 or processes described ; but he has experimented very 
 largely with many formulae and with different results, 
 and has selected the ones given as being the simplest and 
 giving the best results. 
 
 In conclusion, he begs to impress upon the reader's 
 mind the imperative necessity for constant, earnest, 
 watchful attention to all details. He has done all in his 
 power to make Photography simple and popular; the re- 
 sult must remain with the amateur. 
 
 THE AUTHOR. 
 
GENERAL OBSERVATIONS. 
 
 THE DARK ROOM. 
 
 The Dark Room is used for unpacking the Dry Plates, 
 placing them in the Plate-Holders and for developing 
 them after exposure. 
 
 The DarU Moom does not mean a room with the 
 door closed and light coming in the transom, or through 
 cracks in the door, but one absolutely dark; the red light 
 from the Ruby lyantern is the only light used. 
 
 A Special Room for a dark room is not necessary, 
 as all the operations can be performed at night in an ordi- 
 nary room, in which case the curtain should be drawn 
 and the gas or lamp extinguished, using the Ruby Lan- 
 tern onl5^ 
 
 An Ordinary Itootn can be used b}^ day by draw- 
 ing the curtains and hanging some heavy opaque cloth 
 over the entire window, so that no light enters. 
 
 A Common Dark Closet, however, is the most 
 practicable where the amateur has no special room for the 
 purpose, as a closet is so much more easily made dark. 
 
 Order and Cleanliness are absolutely necessary 
 in the Dark Room. Have a convenient place for every- 
 
6 
 
 INSTRUCTIONS. 
 
 thing, have everything in its place, and never use the same 
 bottle or dish for different purposes. By observing these 
 directions you will avoid a long list of failures, which 
 would otherwise be difficult to account for. 
 
 Do not allow the Hypo to come in contact with 
 any other solution. After using it, thoroughl)^ wash the 
 hands before putting them in any other solution, as, 
 while it is perfectly harmless to handle, it will prove fatal 
 to the other solutions. Have a place for your Hypo tray 
 and another for your Developing tray; instead of moving 
 the trays to the light, move the light to the trays. When 
 not in use they should be kept in separate places, and as 
 a further precaution it will be well, when the developing 
 and fixing trays are similar, to mark on the under side of 
 each the initials of the solutions used; as D on one and H 
 on the other. 
 
 INSTRUCTIONS. 
 
 It is earnestly recommended that the beginner 
 become thoroughly familiar with the several parts of his 
 outfit before attempting photographic work. 
 
 If the Camera he a Tripod Instrument, set 
 
 the camera in position on the Tripod, fit the Plate-Holder 
 to the Camera, attach the lens; focus on some object and 
 note the difference in the image on the ground-glass with 
 the different Diaphragms in the Lens. 
 
INSTRUCTIONS. 
 
 7 
 
 If it he a Mand Camera, examine the shutter, 
 operate it a few times both for instantaneous and time 
 exposures, fit the holders in position, and it will be well 
 to see if the Focus Scale is correct, which you can do by 
 focusing at different distances, and also observe the image 
 on the View-Finder. 
 
 Dust the inside of the Plate-Solder before 
 putting in the Dry-Plate, as dust on the Plate will make 
 small transparent spots in the negative and consequent 
 black spots in the finished photograph. 
 
 Fill the JRuby Lamp with astral or any good kero- 
 sene oil, and light it. Now go into your previously 
 arranged Dark Room, locking the door behind you to 
 avoid interruptions, having with you the plates and 
 Plate-Holder. 
 
 To fill he Plate-Holder — Carefully open the 
 sealed package of Dry Plates by cutting along the lower 
 edge of the box to allow the removal of the cover ;^ take a 
 Plate by the edges, and by holding it so that the light is 
 reflecting from the Plate to the eye, you will notice one 
 side is bright and glossy, while the other side is more or 
 less dull. The dull side is the face or film side, while the 
 glossy or glass side is the back. 
 
 \ Place the Plates in the Holder with the face or dull side 
 out, so as to be next to the slide, as this is the side which 
 is next to the lens during the exposure and on which the 
 impression is made. 
 
8 MANIPUI.ATION OF INSTRUMENT. 
 
 Having placed a Plate in one side of the Holder, re- | 
 place the slide and reverse the Holder, placing a Plate | 
 in the other side in a similar manner. i 
 
 Having filled your holders, be sure to replace the cover | 
 
 on the box of Plates before you open the door of your Dark ' 
 Room. \ 
 
 It is desirable to brush the face of the Plate very lightly ' 
 with a Camel's Hair brush to remove any dust; be care- ; 
 ful not to touch the face of the Plate with your fingers, |j 
 as it will be liable to show the marks in the picture. i 
 
 Manipulation of Instrument. 
 
 Setting up the Camera— Attach the Camera ! 
 firmly to the Tripod, and open ready for use; spread out : 
 the legs of the Tripod, having one leg under the front of I 
 the Camera, and the three legs nearly equal distance ■ 
 apart; by this means none of the legs will be at the back | 
 of the Camera, as they would be in the way of the j 
 operator. : 
 
 Level the Camera; this you can do with the e3e; ! 
 if one side of the Camera be lower than the other, the . 
 lines of the view will not correspond to the lines of the ! 
 Plate, and objects which are upright in the view will be ; 
 taken diagonally on the Plate. 
 
 Ground-Glass — The Ground-Glass at the back o£ 
 Camera is for focusing; the lycns forms an image on the 
 Ground-Glass of whatever view is before it. 
 
MANIPULATION OF INSTRUMENT. 
 
 9 
 
 Focusing Cloth — To see the image on the ground 
 glass perfectly, a Focusing Cloth is necessary to shut out 
 all the light possible, as you cannot focus sharp if strong 
 light strikes the ground-glass from any other direction 
 than through the lens. The Focusing Cloth should be 
 of some quite opaque material, the best is rubber cloth or 
 dark velvet. 
 
 Focusing — The Camera being ready for work, cover 
 your head and the Camera at the same time with the 
 Focusing Cloth, and with one hand gather the ends of 
 the cloth around the bed of Camera to exclude as much 
 light as possible, that the image may be more distinctly 
 seen. 
 
 Do not try to look through the ground glass, but on it, 
 keeping your eyes eight or ten inches from the Camera. 
 
 Move the Camera-back towards you or the front frame 
 with lens from you, whichever way the Camera may be 
 constructed, watching the ground-glass all the time. 
 
 You will see the image of the view on the ground-glass 
 inverted, and when the image is most distinct, you have 
 obtained the correct focus, and should clamp the Camera 
 at that point so that your after-manipulation will not 
 move it. 
 
 The nearer the Camera is to the object photographed, 
 the farther the Camera-back will need to be drawn out to 
 get it in focus ; thus it is difficult to get two objects in 
 perfect focus at the same time, when one is near the 
 
lO 
 
 MANIPUI.ATION OF INSTRUMENT. 
 
 Camera and the other remote, though it is much improved 
 by using a small diaphragm in the lens. The near object 
 is said to be in the fore-ground, while the remote object 
 is in the back-ground. 
 
 Take Time for Focusing — It will amply repay 
 you ; it is quite evident that clear definition cannot be 
 obtained without accurate focusing. 
 
 In focusing where instantaneous pictures are to be made 
 with the Drop Shutter, always focus upon the point to be 
 occupied by the coming object, and drop the Shutter when 
 the object is in range. In Photographing moving objects 
 the Drop Shutter is indispensable, but the author recom- 
 mends a time exposure by the Cap, for all stationary 
 objects. 
 
 Diaphragms or Stops — The focus having been 
 obtained, insert the largest Diaphragm in the lycns and 
 note the result ; you will observe that while less amount 
 of light enters the Lens, the detail is clearer. 
 
 Remove this Diaphragm and insert a smaller one, and 
 you will observe the picture is sharper still, but more 
 difficult to see on account of the lessened amount of light 
 admitted through the lens. 
 
 It is evident then that the Photograph will be sharper 
 by using the smaller Diaphragms, but as a less amount of 
 light is admitted, the exposure must be lengthened in 
 proportion. 
 
MANIPULATION OF INSTRUMENT. 
 
 It requires a Certain amount of light to 
 
 make the picture, and it is evident that it takes longer for 
 the required amount to enter through a small than a large 
 aperture. 
 
 In I*hotographing Groups or in Portraiture, it 
 is advisable to use a large Diaphragm, which will permit 
 of much shorter exposure, and thus avoid the blur caused 
 by the movement of the sitters, which is liable to occur in 
 long exposures. 
 
 The proper focus having been obtained 
 
 and the Diaphragm you have decided to use is in the 
 lycns, place the Cap on the lycns to cover it. 
 
 Now unlatch the ground-glass frame and place the 
 Plate-Holder in position on the Camera and carefully latch 
 it. The plate now occupies exactly the same position that 
 the ground-glass did in focusing, and it is evident that 
 the same view will be taken on the plate that you saw on 
 the ground-glass. The Camera is now ready for the 
 exposure. 
 
 Exposure — Success in obtaining a good negative 
 depends largely upon the proper exposure of the plate, 
 and care and judgment must, therefore, be used in this 
 operation. 
 
 Now, everything being ready, the proper Diaphragm 
 inserted and cap on end of tube, draw the slide of the 
 holder nearest the lens, which is always the slide to be 
 drawn. 
 
12 
 
 MANIPULATION OF INSTRUMENT. 
 
 Clasp the cap with the thumb and finger and draw it 
 from the tube with a slightly spiral motion, removing it as 
 quickly as possible and entirely out of range of lens, and, 
 watch in hand, count off the seconds, replacing the cap at 
 the end of the time allowed for the exposure ; replace the 
 slide in the holder ; reverse the holder and expose the 
 other plate in a similar manner. 
 
 Most people, in trying to count seconds, will count 
 much too rapidly ; the author recommends, that you 
 practice counting seconds by holding a watch before you ; 
 this is valuable, as while you intend giving a stated num- 
 ber of seconds of exposure, you will not allow full time. 
 
 The different sides of your plate-holders should be 
 numbered consecutively, with Roman capitals or figures, 
 and exposures always be made in the order of numbers. 
 Keep a memorandum book, and make notes of the length 
 of exposure and other conditions likely to affect each 
 plate, to which you may refer during development. 
 
 Length of Exposure — On the subject of length of 
 exposure it is impossible to lay down any hard-and-fast 
 rule, or to give any directions which can be blindly fol- 
 lowed, as the variation in the power of light and in the 
 character of the object to be photographed, form important 
 factors which are beyond the control of the operator. 
 Experience alone can give the needful judgment. When 
 that is gained, a knowledge of the sensitiveness of the 
 plate used, enables the operator to estimate his exposure 
 with tolerable accuracy, under any conditions of light. 
 
MANIPULATION OP INSTRUMENT. 
 
 13 
 
 A few suggestions, however, will perhaps be found of use: 
 
 For a landscape view in brilliant sunlight, with smallest 
 Diaphragm, one to five seconds will suffice, while for a 
 dull light with sun under cloud, it will require from five 
 
 ' to ten seconds. With the next larger Diaphragm the 
 exposure will be about one-half as long. If very rapid 
 plates are used, the above figures must be reduced one- 
 
 'half. 
 
 From eleven until two o'clock is the brightest 
 portion of the day, the sun having more actinic power at 
 that time. For an early morning view or late in the 
 afternoon the exposure must be longer than at noon. 
 
 As a useful experiment, make three exposures on the 
 same view and plate as follows : after focusing and having 
 attached the holder to the camera, draw the slide about 
 one-third out, and expose, giving, say one second ; draw 
 the slide one-half the remaining distance and expose 
 again, giving the same length of time. Now draw the 
 slide entirely from the holder and expose again, exactly 
 as before, thus you will have three seconds for the first 
 part of plate, two seconds for the second part and one 
 second for the last, and the development will tell which 
 time was nearest right. 
 
 It is perhaps unnecessary to state that every operation 
 after focusing should be conducted with care to avoid 
 moving the camera in the slightest degree. 
 
14 
 
 HAND CAME;rAS. 
 
 HAND CAMERAS. 
 
 The foregoing Instructions are written with 
 especial reference to Cameras using tripod, called View- 
 Cameras or Tripod Cameras, as distinguished from Hand 
 Cameras which are designed primarily for using in the 
 hand for making instantaneous views. 
 
 Of course the same principle is used and the most of the 
 foregoing will apply to a Hand Camera, but as one cannot 
 focus while holding the Camera in the hand, this class of 
 Camera has a Focus Scale showing where to place the 
 lens for photographing at any distance. 
 
 This Focus Scale is made by focusing very carefully at 
 different distances, and the proper distance marked. 
 
 As a Hand Camera is used almost wholly for 
 instantaneous exposures, it is well to bear in mind, as 
 mentioned previously, that a certain amount of light is 
 required to make the impression on the plate, and when 
 you shorten the exposure to a fraction of a second you 
 will expect to make up for the brevity by enlarging the 
 aperture in the diaphragm. 
 
 Do not expect to use a small diaphragm 
 
 for instantaneous exposures, even in strong light, and 
 do not attempt to make instantaneous exposures at all in 
 very dull light. 
 
DEVELOPMENT. 
 
 15 
 
 DEVELOPMENT. 
 
 Developer — Nearly all manufacturers of Cameras 
 and Plates have Developer put up in a concentrated form, 
 and usually with special directions for its use. 
 
 About three ounces of Developer, when mixed, will be 
 sufficient for a 4 x 5 plate, while four ounces will be 
 required for a 5 x 8 plate, though if several plates are 
 to be developed at one time, a larger quantity should be 
 made. Prepare the developer ready for use, before clos- 
 ing the door of your dark room, using a graduated glass 
 for the purpose. 
 
 Process of Development — Light the Ruby lyan- 
 tern, after which you will enter and close the door of the 
 Dark Room. Remove plate No. i from the Holder and 
 place it in the Developing Tray, face up. 
 
 Now apply the Developer to the Plate in the Tray, 
 taking care to cover it at one sweep ; rock the Tray 
 gently to keep the Developer moving in waves across the 
 plate. 
 
 Now watch closely. The development of an exposed 
 Dry Plate is a process which cannot fail to deeply interest 
 the most careless person. As the first faint outlines 
 appear, under the influence of the Developer, wonder 
 grows into amazement at the change going on under 
 one's very eyes. Outlines of familiar objects come out, 
 
i6 
 
 DEVELOPMENT. 
 
 as first the mast, then the hull, then the rigging and the 
 cords of a great vessel conies to us from out the dimness 
 of a fog. 
 
 If there were no other compensations in Photography 
 than the development of an exposed Plate, it would be 
 amply sufficient to repay all the labor, care and taste 
 required to produce it. 
 
 Duration of Development — The image should 
 begin to appear upon a properly exposed plate in twenty 
 to thirty seconds, but instantaneous exposures usually 
 require longer, and the development should be continued 
 until, upon examination of the plate before the light, the 
 sky or high lights seem quite black, and the image begins 
 to fade from its bright yellow appearance. At this stage 
 the image can usually be dimly seen from the back of the 
 plate. This operation will occupy but a few minutes, if 
 the Plate has had full exposure, though for some instan- 
 taneous exposures it will require much longer. Do not 
 check the development too soon, as detail will be lost and 
 the negative will be void of contrast, but will be weak and 
 fiat ; neither continue it too long, as fog and flatness will 
 result. 
 
 It usually requires a longer time to develop instantane- 
 ous exposures, as they are rarely fully timed, and a plate 
 which has not had full exposure requires longer time for 
 development. 
 
 As soon as the development is complete, the plate (it is 
 a negative now) should be well rinsed in cold water before 
 fixing. 
 
FIXING. 
 
 17 
 
 FIXING. 
 
 Make a satured solution of Hypo and keep it in a bottle 
 ready for use and label it H5^po. This should be done 
 previous to development. 
 
 Take a quantity of the saturated solution of Hypo for 
 a fixing bath. 
 
 Place a sufficient amount of the Fixing Bath to cover 
 the plate in a second tray, and into this lay the negative, 
 after development and washing ; the tray should be 
 rocked, same as when developing; allow the plate to 
 : remain in the Fixing Bath at least one minute after the 
 opaque yellowness seen from the back has entirely disap- 
 peared, when it should be thoroughly washed in clean 
 water. 
 
 It is perhaps unnecessary to say that the plate should 
 always be kept face or film side up, in both the Developing 
 and Fixing Trays. 
 
 After Fidcingf the plate being no longer sensitive to 
 i light, you may go out into the light, first being sure your 
 remainhig plates are secure from light. 
 
 It is not necessary that the whole fixing operation 
 should be done in the dark, but you can open the door of 
 the dark room as soon as the plate is once in the Hypo 
 bath, though it is best not to remove it to strong light 
 until the fixing is nearly or quite complete. 
 
i8 
 
 PRINTING. 
 
 Especial Pains should be taken to wash the nega- 
 tive thoroughly after fixing, so as to remove the Hypo 
 from the film. This is best done hy holding the negative 
 under a tap of running water, but where this is not 
 readily obtained, lay the negative in a tray of clean water 
 and change the water many times ; at least a dozen times 
 and two dozen will be better. 
 
 Place your negative in a negative rack until thoroughly 
 dried. Heat must not be used in drying. 
 
 Develop any other plates you may have exposed, watch- 
 ing carefully the treatment required for the different con- 
 ditions under which they were exposed. 
 
 After using the fixing bath it may be put in a separate 
 bottle properly labeled, and can be used until it has grown 
 a dark color, when it should be thrown away, but as it 
 costs but little many discard it after fixing each batch of 
 negatives. 
 
 PRINTING. 
 
 It is evident that if a piece of paper with surface made 
 sensitive to light is placed under a negative and exposed 
 to the light, the surface will undergo a change in exact 
 proportion as the negative shields from or exposes it to 
 the light. This is the principal involved in the process 
 of Printing. 
 
 Directions for Printing — Place the Printing 
 Frame with its springs upward on the table. I^oosen the 
 springs and take out the back-board. Lay a negative, 
 
PRINTING. 
 
 19 
 
 Mm side m/>, in the frame, and upon the negative place a 
 )iece of Sensitized paper, y^f^ doivn, being careful not to 
 scratch the delicate film. 
 Now place the back-board in position, latch carefully 
 
 0 avoid breaking the negative. Turn the frame over and 
 lee if the paper covers the negative properly, and if any 
 ipots appear on the glass, moisten it and rub clean and 
 jright with a cloth, as any spots on the glass will more 
 or less mar the print. 
 
 These operations may be performed in moderate light, 
 as the Sensitized paper is not so extremely sensitive to 
 light as is the Dry Plate. 
 
 . Examine the Prints Occasionally to see 
 
 when they are printed deep enough, but do not do this in 
 the strong light of the window, but step to one side of the 
 window where the light is more subdued. 
 
 To Examine the JPrints— Loosen one of the 
 springs of the printing frame and raise one end of the 
 back-board ; by bending back the paper from the nega- 
 tive the face of the print may be seen, and if not sufl&c- 
 iently printed replace the back-board. 
 
 By loosening but one end of the back-board the paper 
 will fall back into exactly the same register, after raising 
 for examination, for it is evident it will not do to shift the 
 
 1 paper on the negative in the slightest degree. 
 
 f ■ When the print is complete it may be placed in a dark 
 ibox or drawer until a number are ready for toning ; they 
 •will not change z/ /eepHn i/ie dark. 
 
20 
 
 TRIMMING. 
 
 As the tendency of toning and fixing is to bleach the 
 prints, always print somewhat darker than you wash the 
 finished Photograph to appear. 
 
 Direct or Diffused Light — Printing may be 
 effected by the direct rays of the sun or in the shade. 
 Printing in the shade brings out strong contrasts, while 
 printing in the sun produces softness. A thin negative 
 should be printed in the shade, while a dense one should 
 be printed by direct rays of the sun. 
 
 If a negative is very thin and transparent, place one or 
 more folds of white tissue paper over the front of the 
 printing frame, thus diffusing the light thoroughly. 
 
 If, in sun printing, the whites darken before the 
 shadows are bronzed, it is proof of a weak negative, and 
 the recourse is to shade printing. 
 
 If, in shade printing, shadows are fully printed before 
 detail in the high lights come, it is proof that sun print- 
 ing is needed. 
 
 TRIMMING. 
 
 The prints should be neatly trimmed before toning, tak- 
 ing off the blank edges caused by the printing frame. 
 
 The Majority of Views are improved by trim- 
 ming off a liberal margin ; especially is this true of views 
 where some central object really comprises the picture. 
 
 The best guide for trimming is the Glass Form, as by 
 its use you can see where to trim to best advantage. 
 
WASHING BEFORE TONING. 
 
 21 
 
 Place the print, with face up, on a clean sheet of glass, 
 md on the print place the. glass form. Press down firmly 
 )n the form with the left hand, and with the right hand 
 :ut along each edge of the form with a sharp knife. 
 
 An ordinary pocket knife will answer, but a shoemaker's 
 cnife, which costs but a trifle, is best. The knife 
 should be kept well sharpened. 
 
 I If it is desired to trim the print smaller than usual, the 
 jglass form can be used equally well, but, of course, must 
 be moved on the print. 
 
 WASHING BEFORE TONING. 
 
 FOR ALBUMEN PAPER. 
 
 Place the prints, one by one, face down, in a tra}^ filled 
 with water; they will show a strong disposition to curl 
 up as soon as they touch the water,: but as soon as they 
 become saturated, they will be pliable. 
 
 Change the water at least four times, at intervals of 
 from five to ten minutes; it is well to move the Prints 
 about in the water to facilitate the washing. 
 
 Into the third washing water place a small quantity of 
 Carbonate! of Soda, which must be thoroughly dissolved 
 before adding the Prints; about one-half ounce of soda to 
 ten ounces of water is the correct amount. 
 
 The prints should remain in the third water, containing 
 the soda, about ten minutes, then transfer them to the 
 final washing water, after which they are ready for the 
 Toning .Bath. 
 
22 
 
 TONING. 
 
 TONING. 
 
 ALBUMEN PAPER. 
 
 There are many formulae for Toning, and which give 
 good results. Under this heading the author presents 
 one of the best and simplest as being sufficient for the 
 beginner. For those who wish to experiment more 
 largely more formulae are appended under the head of 
 ' ' Valuable Formulae. ' ' 
 
 First — -Dissolve fifteen grains of Chloride of Gold in fif- 
 teen ounces of filtered water, and label it ' 'Gold Solution. ' ' 
 
 Second — Dissolve one ounce of Acetate of Soda in twenty 
 ounces of filtered water, and label it ' ' Acetate Solution. ' ' 
 
 For measuring the water use a Graduated Glass, and if 
 it be the same one used for measuring other solutions, it 
 must be thoroughly cleansed. 
 
 This Gold Solution contains one grain of gold to 
 one ounce of water, and in the formulae where it men- 
 tions Gold in grains, it means one ounce of above Gold 
 Solution ; there is also but a trifle over twenty grains of 
 the Acetate of Soda to an ounce of the Acetate Solution. 
 
 One grain of gold will tone from six to eight 5x8 
 prints, when more gold must be added, and soda also. 
 
 To Prepare a JSat/t — Add one ounce of the Gold 
 Solution to eight ounces of clean water, and then add 
 one ounce of the Acetate Solution, and let it stand for 
 five or six hours; if made the day before wanted for use, 
 it will be even better, as a new bath does not give as even 
 tones as an old one. 
 
TONING. 
 
 23 
 
 Remember this quantity will tone about six or eight 
 5x8 prints, or twice as many 4x5, and if you have a 
 larger quantity to tone you must either make up a larger 
 quantity of Toning Bath, or add more Gold and Acetate 
 solutions after toning above quantity; the latter being 
 the better for a beginner. 
 
 Process of Toning — From the final washing water 
 the prints are transferred, one by one, with faces down, 
 into the Toning Bath. If the prints are allowed to re- 
 main in the tray undisturbed, they will not tone evenly, 
 and some spots will not tone at all; rocking the tray will 
 aid somewhat, but to insure perfect uniformity, transfer 
 the bottom print to the top, continuing the operation at 
 short intervals throughout the process of toning. 
 
 The prints will soon begin to change from the reddish 
 brown to a dark brown or purple tint. When the prints 
 have assumed the desired tint, remove them to a tray of 
 clean water and leave until all are toned. 
 
 From fifteen minutes to a half hour is usually sufficient 
 time for the toning operation, though it frequently takes 
 much longer to properly tone some prints, and some 
 paper is more easily toned than others. 
 
 The entire process of toning may be conducted in 
 moderate light, though it is best to be at a distance from the 
 window, as too strong a light is apt to injure the prints. 
 
 Do not eocpect to get a dark tone in a print 
 which is not printed as deep as it should be; remember, 
 the toning and fixing tends to fade the print rather than . 
 otherwise. 
 
24 
 
 FIXING. 
 
 Do not attempt to tone too many prints together in 
 one dish. The prints should be placed in the solution 
 four or five at a time, and removed when toned, when 
 fresh prints are introduced and the process continued, 
 keeping the prints moving to prevent irregular toning. 
 
 If the bath works too slowly it may be warmed over a 
 fire, but should not be allowed to get hot ; it is best, 
 however, to have the bath about 70 to 90 degrees. 
 
 The prints begin to tone on the surface first, and if not 
 toned entirely through they will turn a reddish brown in 
 the Fixing Bath. To see whether the prints are toned 
 through, hold them up and look at them by transmitted 
 light; if the original red color has disappeared they are 
 sufficiently toned. 
 
 When through toning put the toning bath in a 
 separate bottle and label it Toning Bath. This bath 
 should be used next time by adding the required amount 
 of Gold and Acetate Solutions, as an old bath works bet- 
 ter than a new one, and it has the advantage that it is 
 ready for use as soon as the Gold and Acetate Solutions 
 are added ; no waiting is required. 
 
 FIXING. 
 
 ALBUMEN PAPER. 
 
 As soon as the prints are toned, take them from the 
 tray of water and transfer them to the Fixing Bath, made 
 by diluting some of the saturated solution of Hypo with 
 four or five times its bulk of water. 
 
WASHING. 
 
 25 
 
 Allow the prints to remain in the Fixing Bath for 
 about fifteen minutes, agitating them the same as when 
 in the Toning Bath. 
 
 The Fixing Bath should not be used continuously, cer- ^ 
 tainly not more than two days, and it is even better to.^ 
 use fresh for each day's use. 
 
 WASHING. 
 
 ALBUMEN PAPER. 
 
 The prints should now be washed very thoroughly in 
 clean water to remove every trace of Hypo. 
 
 Unless thoroughly washed out, the Hypo will cause a 
 yellow tinge on the white portion of the picture, and finally 
 cause the print to fade, a very vexatious and annoying 
 occurrence, as well as an entirely unnecessary one. 
 
 The length of time required to thoroughly wash a 
 batch of prints depends somewhat on how frequently the 
 water is changed; the water should be changed at least a 
 dozen times, at intervals of from fifteen minutes to a half 
 hour. 
 
 If it is desirable to shorten the time of washing, it is 
 better to shorten the intervals between the changes of 
 water, than to lessen the number of changes, or con- 
 stantly agitate the prints in the water. 
 
 If you should tone your prints at night, as many do, 
 you will allow the prints to remain in the washing water 
 until morning, when they should be rinsed in at least 
 two or three waters. 
 
26 
 
 ARISTOTYPE PAPER. 
 
 It is recommended to use a handful of common salt in 
 the first washing water as a preventive of blisters. 
 
 ARISTOTYPE PAPER. 
 
 The foregoing applies to Albumen Paper. Aristotype 
 Paper is printed in same manner as Albumen Paper, but 
 the after manipulation is somewhat different. 
 
 Albumen JPaper, until the past two years was the 
 most popular process for printing, but now, it is crowded 
 almost entirely out by Aristotype Paper. 
 
 The name Aristotype is a very broad one and 
 covers several brands of paper in the market, all of which 
 are made after different formulae and some are totally 
 different, each maker having a distinctive name, as Peer- 
 less, Solio, Aristo, Ilo, etc. 
 
 On account of the difference noted above, it is difficult 
 to give specific directions which will apply to all. For 
 instance, one manufacturer advises several changes of 
 water before toning, while another advises no washing 
 before toning. 
 
 The manufacturers of Aristotype Paper enclose with 
 each package specific instructions, which it will be well 
 to follow, and these instructions are but general. 
 
 Toniftff — Aristotype Paper can be toned and fixed in 
 separate baths, or it may be toned and fixed at the same 
 time by using a combined fixing and toning bath. For 
 the purposes of the amateur, the combined bath will be 
 preferred. 
 
MOUNTING. 
 
 27 
 
 Formulse for making toning baths for Aristotype Paper 
 are given by each maker, but for the ordinary amateur, 
 who does not want to take the trouble to make these 
 solutions, it is better to purchase it ready prepared and he 
 will usually get better results. 
 
 Blotting Paper— Most Aristotype Papers are made 
 from gelatine, and when wet the surface is sticky. Blot- 
 ting paper will stick to it if used to absorb the moisture 
 after mounting, as is advised for Albumen Paper. 
 
 Glace Finish — If you do not want to mount Aristo- 
 type prints, a very high polish may be given them by 
 laying them face down on a sheet of Ferrotype plate and 
 rub lightly until it lays perfectly flat against the plate. 
 When perfectly dry the print can be removed, when it 
 will have a high glace finish. 
 
 A Mat Surface may be obtained by substituting a 
 sheet of ground-glass for the Ferrotype plate. 
 
 MOUNTING. 
 
 After the prints are washed they are ready for mount- 
 ing on card board, or as usually called, Card-Mounts; this 
 operation is very simple. 
 
 Remove the prints from the water one by one, drain off 
 all surplus water, and place in a pile, with faces down, on 
 a clean sheet of glass. 
 
 Apply a thin coat of paste to the back of upper print, 
 using a Bristle brush for the purpose ; place the print care- 
 fully on the card-mount, working from the center to the 
 
28 
 
 GENERAL NOTES. 
 
 ends so as to be free from air bubbles. Place a sheet of 
 paper over the print to prevent it from becoming rubbed 
 or torn, and rub the paper with the palm of the hand 
 until the print lies perfectly smooth. 
 
 If the prints are not required to be mounted at once on 
 leaving the water, they should be dried, and when 
 mounted subsequently they should be thrown into clean 
 water until they lie flat, and then mount as usual. Do 
 not try to mount them while dry. 
 
 One of the best articles for making prints lie smooth is 
 a small roller similar to a paper-hanger's roller, and which 
 any amateur can make for himself. Cover the roller with 
 velveteen and pass the roller over the paper which covers 
 the print. 
 
 When Aristotype Paper is made from gelatine the sur- 
 face is soft when wet, so that paper will adhere to it, in 
 which case a sheet of rubber cloth is best to cover the 
 print before rubbing it down on the card-mount. 
 
 GENERAL NOTES. 
 
 Two very common errors made by beginners are over- 
 exposure and tmder-development. 
 
 Over-exposure— When a plate has been much over- 
 exposed the image will appear at once on applying the 
 developer, though without any very distinct outlines, and 
 it will disappear again almost immediately ; such a nega- 
 tive will be lacking in contrast and the prints from it will 
 be without distinct lights and shades. 
 
GENERAL NOTES. 
 
 29 
 
 When the image flashes into view at once, showing over- 
 exposure, a small pinch of Bromide Ammonia added to the 
 developer will restrain its action and may save the negative; 
 adding water to the developer will also retard its action. 
 
 If you anticipate that a plate has been over-exposed, 
 commence development with a very weak developer and 
 with less than normal quantity of the alkali, by which is 
 meant Potash, Soda or Ammonia, whichever is used with 
 Pyro, Hydrochinon or Eikonogen, as a developing agent. 
 
 Under-exposure — When a plate has not had suffi- 
 cient exposure, the image will appear very slowly, the 
 bright portions of - the view appearing much before the 
 darker portion and with strong contrasts ; such a nega- 
 tive will be very vigorous, but will be lacking in detail. 
 
 For an under-exposed plate you will increase the quan- 
 tity of the alkali solution to gain detail in the shadows. 
 
 Where a plate has not had full exposure, and detail in 
 the shadows comes very slowly, a very acceptable nega- 
 tive may sometimes be obtained by diluting the developer 
 with three or four times its bulk of water and allowing 
 the plate to remain in this for some time ; even as long as 
 one or two hours in a very weak developer has been known 
 to make a very good negative from a plate which, devel- 
 oped in the ordinary way, would have been worthless 
 
 INTENSIFICATION. 
 
 When a negative is weak, flat or lacking in vigor, it is 
 frequently much benefitted by intensifying, in which 
 case proceed as follows ; 
 
30 
 
 GENERAL NOTES. 
 
 Take sufficient amount of Intensifier to cover the plate 
 in a dish used only for that purpose. Then place the plate 
 in the solution, taking care that the surface is entirely 
 covered as quickly as possible. As soon as the film has 
 attained an olive color, take the plate out for examination, 
 and if the film appears to be changed from the smoky 
 black to a yellowish olive color, wash the plate very 
 thoroughly, and place it on the rack to dry. When 
 thoroughly dry make a proof by printing from it, and 
 compare with previous proof ; if sufficient intensity is not 
 obtained, repeat the operation. 
 
 Intensification may take place either at once after fixing 
 and washing, or at any subsequent time, at the pleasure 
 of the operator. 
 
 The Intensifier mtist he thoroughly washed from the film, 
 otherwise the image will entirely disappear in time. 
 
 Intensifier may be made by the formula given under the 
 head of " Valuable Formulae," or can usually be purchased 
 in a concentrated form of the dealer of whom you buy 
 other accessories. 
 
 VARNISHING. 
 
 Varnishing a negative is generally unnecessary and is 
 only done for the sake of protecting the face of the nega- 
 tive from scratching, which may occur from careless 
 handling, but when you are satisfied that a negative pos- 
 sesses sufficient merit to warrant its preservation, dust 
 carefully when thoroughly day, and hold before a fire until 
 
GENERAL NOTES. 
 
 31 
 
 quite warm ; balance the negative on the ends of the fin- 
 gers of the left hand, face up, and pour a small amount of 
 the varnish on the face of the negative and flow it to each 
 corner ; avoid haste and do not go over the same portions 
 of the plate twice ; afterwards make the plate quite hot 
 and keep at that temperature for some time to harden 
 the film, holding it horizontally and gently rocking to and 
 fro, to prevent the varnish from drying in lines or ridges. 
 
 FUMING. 
 
 Fuming Sensitized Albumen Paper with Ammonia be- 
 fore printing is earnestly recommended. The advantages 
 derived from this process are important. It increases the 
 brilliancy of the prints, and it also increases the sensitive 
 qualities of the paper, the printing is more rapidly done ; 
 the toning is rendered easier and also it has a strong 
 tendency to prevent blisters. 
 
 Fuming, however, destroys the keeping quahties of the 
 paper, hence you should fume only for immediate use. 
 
 To make a good fuming box, procure a wooden box 
 with a cover, the box to be at least six inches deep and 
 as much deeper as may be convenient. Cut two pieces of 
 board about three inches wide and as long as the inside of 
 the box ; to the edges of these cleats nail small strips of 
 wood, about one-half inch apart, the length of the strips 
 being the same as the width of the box ; this makes a 
 rack that will fit in the box and is supported about three 
 inches from the bottom. 
 
32 
 
 OTHER PRINTING PROCESSES. 
 
 Place a saucer containing some Stronger Water of Am- 
 monia on the bottom of the box, put in the rack, and on 
 it lay the sensitized paper. 
 
 From fifteen minutes to a half hour is the time required 
 to properly fume sensitized paper ; remove the paper 
 from the fuming box at least five minutes before placing 
 in the printing frame. 
 
 OTHER PRINTING PROCESSES. 
 
 Though the methods previously described, that of print- 
 ing on albumen paper sensitized with silver, and Aristo- 
 type paper, which is a gelatine or other surface sensitized 
 with silver, are the most common in use, yet there are 
 several other processes, some of which are designed for 
 especial uses, while others are designed as rivals of the 
 older and still popular processes. The author mentions 
 only such of the many processes as are best adapted for 
 amateur's use. 
 
 BLUE-PRINT PROCESS. 
 
 This process is well adapted for amateurs for making 
 proofs from negatives, or if a print is desired quickly, as 
 it requires no toning, merely washing after printing. 
 
 In using Ferro-Prussiate or blue paper, place the face or 
 dark-colored side of the paper against the negative in the 
 printing frame and expose the negative to direct sunlight; 
 instead of turning a bronze color, as does the sen,sitized 
 albumen paper, this paper will turn a rich blue. 
 
BROMIDE PAPER. 
 
 33 
 
 When sufficiently printed, which can be told by exam- 
 nation, immerse the print in a tray of clean water ; the 
 jarts which have turned blue are permanent, while the 
 -est will wash off, leaving a beautiful permanent blue and 
 white picture. 
 
 LThe soluble portion will wash off immediately on im- 
 ersion in the water, but the print will be much clearer 
 ^f allowed to remain in the water for fifteen or twenty 
 minutes, then rinse again in clean water and place between 
 blotters to dry. 
 
 BROMIDE PAPER. 
 
 This process has proven quite popular for certain uses ; 
 it certainly has the advantage of enabling one to produce 
 a large number of prints in a short time, and the ability 
 to print on this paper by artificial light is an advantage. 
 
 This paper is extremely sensitive and must be handled 
 in the dark room only ; the paper is laid on the negative 
 in the printing frame with face down, same as for any 
 other paper, but the exposure is very brief, ranging from 
 pne to five seconds by diffused day-light, or ten to twenty 
 seconds at a distance of one foot from an oil lamp. 
 
 The image printed on this paper is not visible until de- 
 veloped similar to a Dry Plate. 
 
 The author will not give detailed instructions regarding 
 the manipulation of Bromide paper, as very explicit 
 instructions are furnished by the manufacturers of this 
 paper with each package. 
 
34 
 
 TRANSPARENCIES. 
 
 TRANSPARENCIES. 
 
 A Transparency is a photograph on glass, and is indeed 
 a most beautiful production, preserving more clearly the 
 delicate lines of the negative than any other method of 
 printing. 
 
 A Transparency is made on a Dry Plate by printing in 
 a similar manner to Bromide paper. 
 
 Especial Dry Plates for transparencies are made by sev- 
 eral plate makers, these plates being much slower working 
 than those designed for use in the camera, as a slow plate 
 makes a more brilliant transparency than a rapid one. 
 
 lyay a negative in the printing frame, same as for paper 
 printing, and on this lay an unexposed Dry Plate, the 
 film of each being in contact. 
 
 The exposure must be by artificial light, for should you 
 use daylight there is danger of over-exposure. 
 
 The length of exposure varies according to the nega- 
 tive, but with a medium negative the exposure will be 
 approximately from five to ten seconds at two feet distant 
 from a gas jet, or one foot from an oil lamp. I^ighted 
 matches are excellent for giving exposure ; two or three 
 lighted at once and held about a foot from the negative, 
 until they are consumed, will usually give plenty of ex- 
 posure. 
 
 After exposure the plate is developed in the same man- 
 ner as though exposed in the camera, the Hydrochinon or 
 Ferrous- Oxalate developer being preferred to Pyro ; if Pyro 
 developer is used the plate should be immersed in an alum 
 bath to clear it of the Pyro stain. 
 
VIGNETTING. 
 
 35 
 
 Transparencies are beautiful for window decorations and 
 as lantern-slides ; if to be used for a window transparency 
 it should be placed in a frame with ground-glass at the 
 back for a mat. If used for a lantern, a piece of clear 
 glass should be placed at the back and sealed together by 
 means of a border of black needle paper. 
 
 VIGNETTING. 
 
 Sometimes, especially in portraiture, it is desirable to 
 print only from the center of the negative, leaving out 
 the edges, and yet blend the printing so as to give an 
 artistic effect by softening the print into a white border ; 
 a print made in this manner is termed a vignette ; the neg- 
 ative is made in the usual manner, the difference being 
 made in printing. 
 
 To vignette a photograph you will need a vignetter of 
 some kind, either one made expressly for the purpose or 
 an improvised one ; a good vignetter is made by making a 
 frame of thin wood about two inches deep, with a top in 
 which is an opening nearly as large as the negative ; this 
 frame (or it might be called a shallow box) should be 
 made so it will fit snugly over the printing frame. 
 
 Take a piece of card-board large enough to more than 
 cover the opening in the vignetter, and in the card-board 
 cut an aperture of the size and shape required, oval, pear- 
 shaped, etc. , the pear-shaped being most used for portrait- 
 ure, the narrow portion being placed over the head, the 
 wide portion over the shoulders ; around the edges of the 
 
36 
 
 CUT OUTS. 
 
 opening in the card-board cut slots about one inch deep 
 and one-eighth inch apart, and turn the points upward ; 
 one or more thicknesses of tissue paper should be pasted 
 over the aperture in the card-board to diffuse the light. 
 
 Place the negative and sheet of sensitized paper in the 
 printing frame as for ordinary printing ; place the vignet- 
 ter over the printing frame and the ".ight entering through 
 the aperture in the card-board vignetter will print the 
 shape of the aperture ; as a certain amount of light will 
 enter through the interstices around the edge of the aper- 
 ture, caused by cutting the slots, the edges of the print 
 are not abrupt. 
 
 The lines of a vignette are softened by using more 
 thicknesses of tissue paper or by raising the vignetter 
 farther above the negative, while by using but one thick- 
 ness of tissue paper and strong light, or by placing the 
 vignetter close above the negative, the lines are made 
 more abrupt. 
 
 CUT OUTS. 
 
 Take a piece of non-actinic paper (thick paper of any 
 very deep color will usually work well) of the same size 
 as the negative, in which cut any desired size and shape 
 of aperture ; place this between the negative and sheet of 
 sensitized paper in the printing frame ; the print will be 
 the exact size and shape of the aperture, the border being 
 quite white. 
 
 A very pretty effect is also produced by taking a 
 piece of non-actinic paper, and cut it to any size and shape 
 
HINTS ON LANDSCAPE PHOTOGRAPHY. 37 
 
 required; place this between the sensitized paper and a 
 plain piece of glass, instead of the negative, in the print- 
 ing frame; place the frame in the sun and print until the 
 edges of the paper are a very dark brown, after which 
 remove it and print with this paper as usual, the effect 
 being the same as the cut-out, except with brown border 
 instead of white. 
 
 Hints on Landscape Photography. 
 
 As landscapes are always seen with disadvantage under 
 a noon-day sun, so photographs taken under similar cir- 
 cumstances are most unpleasing; and as photography 
 tends to exaggerate contrasts of light and shade, the re- 
 sult is all the worse. Many experienced photographers, 
 therefore, avoid taking views when the sun shines most 
 brilliant, but choose rather the morning, or days when 
 the sky is covered with white clouds, through which the 
 sun's rays occasionally break. 
 
 As the camera has not the painter's power of excluding 
 or subduing intrusive objects, all the photographer can 
 do is to endeavor to select his point of view, so as to 
 avoid them. This is a matter demanding the utmost 
 pains and care, for after the view has been taken, it will 
 sometimes be found that a change of position of even a 
 few rods would have made a material improvement, a dis- 
 covery both mortifying and annoying, and better avoided 
 by a careful search beforehand. 
 
38 HINTS ON LANDSCAPE PHOTOGRAPHY. 
 
 The point of sight from which to take the picture 
 will be regulated by circumstances, but sometimes circum- 
 stances can be made to bend to your will and give you your 
 choice. The novice cannot tell just how a certain view 
 will look on his screen; he will shift to the right, to the 
 left, move higher or lower, until he knows what to expect, 
 or how he stands relative to light and shade and perspec- 
 tive. But all this is good, refining, and assists in future, 
 as it is his first lesson in arranging his composition. 
 
 The whole scene in many landscapes changes by 
 standing a little higher or lower, or a few paces to the right 
 or left. The man having the eye of an artist, who knows 
 how to seek the best position, will at all times give the 
 best picture. 
 
 When a particular scene has first struck the fancy, and 
 if, upon closer investigation it be found that the chosen 
 position does not give harmony, then, by some slight 
 change of the point of view, other combinations may come 
 into operation which may satisfy the taste. 
 
 The foreground really constitutes the picture, and 
 should be given due prominence on the plate, middistance 
 and distance are insufficient of themselves to form a 
 pleasing picture, but, made accessory to, and combined 
 with the foreground, the result will be an artistic whole, 
 which will be most pleasing to the eye. 
 
 In every picture there are certain points that are 
 more prominent than the others, and to which other parts 
 are made more or less subordinate; none of these points 
 
HINTS ON LANDSCAPE PHOTOGRAPHY. 39 
 
 should occupy the exact center of the picture, especially if 
 there be one object of more importance than all the rest, 
 as a tree for instance; if the most important object, and 
 it be placed in the center, it will divide the picture into 
 exact halves; while the same object if placed either way 
 from the center, will look much more artistic. 
 
 There is great beauty in very trifling objects, 
 which many overlook. Bushes and vines, rocks, stones, 
 logs, often have elements of attraction that reveal them- 
 selves only by observation and cultivation. An artificial 
 - arrangement of such objects in the foreground of a photo- 
 graph lends to it an inexpressible charm. 
 
 Never be satisfied with "good enough." One first- 
 . class, view is worth a dozen indifferent ones. Superficial 
 
 observers entertain the belief that landscape photographs 
 : must be as good as others, as the object remains always 
 
 the same, and all are prepared by the same process. 
 " Nothing can be more erroneous. The object is not always 
 : the same, for a landscape appears under very different 
 
 aspects in the morning and evening light, or in different 
 
 states of the weather. Whoever studies these effects of 
 . light will soon discover at what hour a certain view will 
 
 look mi^t beautiful and will choose that time for taking 
 
 his view. Accordingly, his picture will surpass greatly 
 . that of a hasty or superficial person who takes the view 
 
 as he finds it. 
 
 An agreeable division of the foreground is 
 
 i a capital point in a landscape. Almost any characteristic 
 
40 
 
 HINTS ON LANDSCAPE PHOTOGRAPHY. 
 
 and prominent object will have a good effect, logs, stones, 
 and still more, rocks, bushes; anything that breaks the 
 level and changes the lines also attracts and pleases the 
 eye — not in itself, but in the general character that it im- 
 parts. It may generally be affirmed that scarcely any- 
 thing can so much detract from the effect of a landscape 
 as an unbroken foreground, level in form and uniform in 
 light. Such a foreground will mar, if not destroy, the 
 effect of the finest object. The artistic photographer will 
 always change his position to avoid such a foreground, or 
 if he is tied down to a particular spot from some impera- 
 tive cause, he will, if possible, have some object thrown 
 where it will support his lines. 
 
 Many commonplace scenes require only the 
 proper lighting, and perhaps the introduction of a proper 
 figure in the right place to make it a beautiful subject for 
 the camera. The commonplace is always attractive when 
 well treated. Simple subjects appeal to everybody. 
 
 Many landscapes are much improved by the introduction 
 of living objects, to give expression and interest to the 
 view, care being taken that they are so placed that they 
 are made accessory to the scene. 
 
 Frequently human figures are introduced with 
 good effect, but they are not advantageous unless used to 
 make up the story, when they must be so placed and 
 posed that they harmonize with the balance of the picture 
 and become one of the parts that make up the whole. 
 
INSTANTANEOUS PHOTOGRAPHY. 
 
 41 
 
 In composing a scene where figures are intro- 
 duced, it is bad taste to represent the figures as looking 
 at the camera ; this is a very common mistake among be- 
 ginners, and naturally, as the camera being the central 
 point of interest, all persons in sight, unless cautioned by 
 the photographer, just previous to the exposure will in- 
 variably gaze at the instrument ; in many cases the effect 
 is better if the figures are placed with the side or back to 
 the camera. Let us suppose for instance that we are look- 
 ing at a perfect piece of scenery, a figure in the fore- 
 ground leaning against a tree and contemplating the 
 scene, apparently unconscious of the photographer's pres- 
 ence, will have a better effect than if presented as facing 
 the camera, and watching the operations of the photog- 
 rapher. 
 
 In comhining figures with a landscape 
 
 view, appropriateness must be observed, and this is a fine 
 test of one's artistic powers, and is an excellent school in 
 art composition. Figures which are not appropriately 
 dressed, appropriately occupied, appropriately placed, 
 might with much better taste, be left out of the scene 
 entirely. 
 
 Instantaneous Photography. 
 
 When objects in motion are to be photographed, it is 
 apparent the exposure must be exceedingly brief , that the 
 movement shall be inappreciable. 
 
42 
 
 INSTANTANEOUS PHOTOGRAPHY. 
 
 To these exposures the term ' ' instantaneous ' ' is ap- 
 plied. As it is apparent that the cap cannot be removed 
 and replaced quick enough, it becomes necessary to use a 
 mechanical contrivance for exposing the plate. For this 
 purpose it is necessary to use the " drop shutter " which 
 reduces the exposure to a very small fraction of a second. 
 
 When the exposure is so exceedingly brief as in this 
 case, it is evident that a very large diaphragm is required 
 to admit the necessary amount of light in so short a time. 
 
 Moving objects, such as animals in mation, yachts on 
 the river, or railroad trains, may be taker with the "drop 
 shutter," and the results will appear as if they were stand- 
 ing still. 
 
 Instantaneous Photography possesses a fas- 
 cination peculiar to itself ; the amateur feels a peculiar 
 desire to take ' ' something, ' ' and if that ' ' something ' ' 
 be an animate object, unconscious of his presence so much 
 the better, and with what a thrill does he see his first 
 " snap shot " develop up, whether a railroad train, trot- 
 ting horse, or a man hurrying along tie street, whom 
 he has transfixed with one foot on the ground, the other 
 in the air, and his whole figure in an attitude that the 
 original would repudiate, and declare he never assumed 
 such a position, were the proof not against him. 
 
 Instantaneous photography has become especially pop- 
 ular since the introduction of Hand Cameras, as this style 
 of camera is peculiarly adapted to ' ' snap shots ' ' Many 
 Amateurs who possess a tripod Camera also possess a 
 
FLASH LIGHTS. 
 
 43 
 
 small Hand Camera for their instantaneous work, for one 
 will many times take a Hand Camera with him when he 
 would not take a regular Tripod Camera. 
 
 FLASH LIGHTS. 
 
 Magnesium powder, for producing a brilliant artificial 
 light for photographing, is now attracting wide attention; 
 this very properly comes under the head of Instantaneous 
 Photography. 
 
 There are many preparations in the market for produc- 
 ing the flash, all of which are based on explosives mixed 
 with the Magnesium powder to ignite it. 
 
 Pure Magnesium powder is the best however, 
 as there is a minimum of smoke and a pure, white quality 
 of light. This powder must be ignited in aflame, usually 
 by forcing a quantity of the powder through the flame. 
 
 In photographing with the Magnesium flash powder 
 you will need to focus by the aid of what light you can 
 get from the gas jet or lamps, and when the focus has 
 been obtained apply the holder and cap the lens. When 
 all is ready, draw the slide, uncap the lens and make the 
 flash, and cap the lens immediately after. 
 
 If portraits are taken by flash light, it is advisable to 
 have the room as brilliantly lighted as possible, as the 
 brilliant flash is more apparent in a darkened room, and 
 is more apt to cause the sitter to close his eyes at the 
 moment of exposure. 
 
44 
 
 PORTRAITURE AND GROUPS. 
 
 In photographing a group, or in taking a portrait b}' 
 flash hght, it is best that none be looking directl}' at the 
 flash, for the eyes do not close involuntarily, they are apt 
 to have a strained appearance, best described as ' 'staring. ' ' 
 
 A large sheet of tissue paper held between the light 
 and the sitter will soften the effect, though this is not 
 always desirable. 
 
 Care should be taken that the light is so placed as not 
 to shine in the lens ; it is well usually to place the light 
 a little to one side of and above the camera. 
 
 The development of the plate is about the same as for 
 any instantaneous exposure. 
 
 PORTRAITURE AND GROUPS. 
 
 The exceeding nearness of the object, the difficulty of 
 obtaining proper illumination and appropriate surround- 
 ings, together with other obstacles, both optical and 
 mechanical, render portraiture more difficult of accom- 
 plishment than landscape photography. 
 
 The greatest ingenuity has been applied to produce the 
 requisite effects, the accessories of a first-class studio being 
 far beyond the reach of the ordinary amateur. 
 
 Because the amateur has no well appointed studio, with 
 skylight and other accessories of the professional photogra- 
 pher, there is no reason why he cannot make most excel- 
 lent portraits, if he has good judgment and a desire to 
 improve. 
 
PORTRAITURE AND GROUPS. 
 
 45 
 
 The best light for home portraiture is usually de- 
 rived on a porch or on a lawn in the shadow of a house or 
 tree; do not try to take portraits in a broad open light, as 
 you cannot expect to get any fine gradation of light and 
 shade, the contrasts will be too strong, besides the fact 
 that the picture will not have a natural look, as it is impos- 
 sible to keep one's eyes open fully, facing a strong light. 
 
 CrOOd poTtvaitS may be taken in an ordinary room 
 well lighted, but the exposure must be very many times 
 longer than for outside work, as the light of the brightest 
 room without a skylight is much weaker than out of doors. 
 
 To obtain the best possible results, the amateur must 
 make up, as far as possible, the lack of a skylight, and will 
 have some kind of screens to control the light as best he can. 
 
 The best time of day for out-door portraiture is 
 either early in the forenoon or quite late in the afternoon, 
 as the light is more easily controlled than when the sun's 
 rays are nearly vertical. 
 
 Iff in, out-door portraiture , it be desirable to 
 represent an interior view, a rug spread upon the ground, 
 chairs from the house, together with a Japanese screen for 
 a back-ground, will have the desired effect. 
 
 Be careful in posing the sitter, to get the best 
 illumination possible, and to know just how to derive the 
 most harmonious distribution of light and shade. You 
 must carefully study the subject, and you will soon become 
 able to tell at a glance which will be the best pose under 
 the circumstances. 
 
46 
 
 PORTRAITURE AND GROUPS. 
 
 Do not trust to the appearance of the sitter as seen 
 by the eye, but examine carefully the appearance of the 
 image on the ground-glass, and you can tell much better 
 whether the pose is good, and also whether the distribu- 
 tion of the light is harmonious. 
 
 For indoor portraiture the room best suited to 
 the purpose is one on an upper floor and on the east or 
 south side of the house, so as to get the best light. The 
 sitter should be about two feet from the window and 
 about the same distance to one side of it, this being the 
 best position for hght, the camera being on the opposite 
 side of the window. The shade of the window should be 
 raised as high as possible, and if the light be partially ob- 
 scured from the lower half of the window, by hanging up 
 some semi-opaque material, the direction of the light will 
 be nearer that of a skylight; this will lessen the volume 
 of light and will necessitate a longer exposure. 
 
 Direct sunlight must not fall on the sitter; if sun- 
 light conies through the window, hang up some thin 
 white cloth at the window to soften the light. 
 
 A screen will be necessary to reflect light back to the 
 sitter to softly illuminate the shadow side of the face; the 
 screen will be about three or four feet from the sitter. 
 
 In posing a sitter, keep the chin well up and the 
 head perfectly straight on the shoulders. The eyes 
 should follow the direction of the face and avoid all fancy 
 positions. 
 
PORTRAITURE AND GROUPS. 
 
 47 
 
 Three-quarter or full faces are preferable; for a full 
 face the body should be turned slightly toward the light, 
 while for a three-quarter face the body should be square 
 with the camera, as the effect is not so stiff as if the head 
 were square with the body. 
 
 Look to the hands in posing; do not have them 
 crossed or held in front of the sitter, especially when 
 making a large figure, as they will appear abnormally 
 large; this is not so apparent when the camera is farther 
 removed from the sitter for a smaller figure, and not 
 noticed at all in groups where all the figures are smaller. 
 
 When arranging groups for portraiture, consider 
 first the appropriate size of figures with relation to the 
 plate you are working and the space to be occupied by 
 the group; do not try to have the group occupy too large 
 a proportion of the plate, as the result is not so agreeable. 
 
 Look well to the margin, for it will add beauty 
 to the picture to have a margin; besides, when a group 
 occupies the full size of the plate, the figures near the 
 edge will not have a clear and sharp picture. 
 
 Do not stand the members of a group in a direct row, 
 as it looks stiff and unnatural; allow them to assume 
 natural and unconstrained positions. 
 
 Do not scatter the figures widely apart; give the 
 foremost place to the smallest members, with the larger 
 members in the rear. Give some attention to arranging 
 the group according to the dress of individuals, so as not 
 to have too strong contrasts of dress. 
 
48 
 
 PORTRAITURE AND GROUPS. 
 
 For occasional portraits of friends, no back- 
 ground will be necessary; indeed, many will prefer the 
 walls of their own room or porch, as the case may be; in 
 many instances, however, the walls may not be of the 
 best color for the purpose, and if much portraiture is to 
 be done, especially out-door portraiture, a back-ground is 
 recommended, no matter how simple it may be. 
 
 A light colored cloth on a frame, or a large sheet of 
 paper held back of the sitter, makes a good back-ground 
 for a portrait in the house. Some one should hold it and 
 constantly move it during the exposure, so as to make a 
 plain back-ground; of course the one holding it should 
 be back of it. 
 
 Plain linoleum, of a light color, makes a good back- 
 ground. You can graduate the tint by using the back- 
 ground placed obliquely to the lens, or by the use of a 
 curtain to shade it gradually so as to get a similar effect. 
 
 Place the subject so that the shadow side will be against 
 the light part of the back-ground and vice versa. The 
 shade should be increased or diminished according to the 
 complexion of the subject. 
 
 A good Background for amateur purposes may be 
 made by making a wooden frame of suitable size, and on 
 one side of this frame stretch and tack some kind of cloth 
 of a light shade, and on the other side stretch a similar 
 cloth of a darker shade, and you can use either, accord- 
 ing to the color of the sitter's dress. Two short sticks 
 nailed across the bottom of the frame will answer for 
 the base. 
 
INTERIORS. 
 
 49 
 
 In open-air groups a white table-cloth will reflect 
 light on faces and give soft shadows. 
 
 Make a screen for graduating the light ; one that can 
 easily be taken apart and rolled up can be made by taking 
 two sticks about five feet long, nail a short piece across 
 one end of each for a base, use these as uprights and take 
 two more pieces somewhat shorter for cross-pieces ; these 
 should be joined at the corners by small hooks or by 
 wooden pins. Attach the cloth (common sheeting) to 
 this frame by means of small hooks. 
 
 INTERIORS. 
 
 Next to portraiture, interiors are most difficult to pho- 
 tograph, owing to deep shadows and lack of light. Any 
 room is dark in comparison with the broad and free light 
 of outside. 
 
 The length of exposure varies greatly, as some 
 rooms are much darker than others, sometimes requiring 
 ten, fifteen or even as much as twenty minutes, when half 
 as many seconds outside would suffice. 
 
 In photographing interiors do not point the 
 camera towards the light but from it. Place the camera 
 so as to avoid including a window if possible, as owing to 
 the greater amount of light coming from the window than 
 from the rest, it will be much over-exposed before the 
 rest of the picture has had exposure enough. When it is 
 not possible to avoid including a window in the picture or 
 it be desirable to include it, a good picture can be obtained 
 as follows: 
 
50 
 
 STKRE^OSCOPIC VIEWS. 
 
 After Focusing and all is ready for exposure 
 close the blinds and draw the curtain of the windows, and 
 get as much light as possible from side windows or doors. 
 All being ready, expose for the required length of time, 
 five, ten or twenty minutes, as the case may be, and cap 
 the lens carefully, to avoid moving the camera. Now 
 raise the curtains and open the blinds, and expose again 
 for, say from three to five seconds. This is a double ex- 
 posure and will be found to give good detail on the win- 
 dow which would otherwise be lost from over-exposure. 
 
 It is very difficult indeed to avoid strong contrasts in 
 interiors, owing to the great difference in the light in 
 different parts of a room. 
 
 When the difference in the amount of light in the sev- 
 eral parts of a room is excessive, it is a good idea to close 
 the shutters, making the room darker but with less con- 
 trast ; you will then lengthen the exposure accordingly ; 
 this is not practicable in a room which is in constant use, 
 as the exposure may require several hours. 
 
 STEREOSCOPIC VIEWS. 
 
 Stereoscopic views are two separate pictures on one 
 plate, made by two lenses placed side by side on the cam- 
 era, with a division inside the camera between the lenses; 
 the distance between the lenses is supposed to correspond 
 to the distance between the human eyes, though the effect 
 is better if they are placed farther apart, the usual distance 
 being about three and one-half inches ; the foci of the two 
 
PHOTOGRAPHING MACHINERY. 
 
 51 
 
 lenses must correspond exactly so both halves of the plate 
 will be in perfect focus. 
 
 In taking stereoscopic pictures the exposure of the two 
 lenses must be simultaneous and of the same duration, so 
 both halves of the plate will have the same length of 
 exposure, and will be of the same density after develop- 
 ment, that both halves may print alike; the latter is 
 essential, and if one-half of the plate should print quicker 
 than the other, place one or more thicknesses of tissue 
 paper over it. 
 
 The other operations are the same as for single pict- 
 ures, except mounting the prints; in mounting they must 
 be cut apart and placed on the card mount reversed, that 
 is the print on the right must be placed on the left side 
 of mount and the print on the left will be on the right 
 side of mount; this brings the outer edges of the print 
 together. 
 
 In trimming stereoscopic pictures, care should be taken 
 to trim from both sides alike, so as to preserve the cen- 
 ter; otherwise the stereoscopic effect is destroyed. 
 
 Stereoscopic prints are usually trimmed to about three 
 or three and one-quarter inches wide, and from three and 
 one-half to four inches high, with oval or square top. 
 
 PHOTOGRAPHING MACHINERY. 
 
 Usually when a piece of machinery of a.ny kind what- 
 ever is ready to leave the manufacturer's hands, or fitted 
 
52 
 
 PHOTOGRAPHING MACHINERY. 
 
 up at its final destination, it is in the worst possible state 
 to be photographed. 
 
 The glossy paint, usually of the most non-actinic 
 colors, renders a strong contrast between light and shade, 
 and will not give a smooth effect; and if the machine be 
 one embracing raw castings, the effect will be very objec- 
 tionable. 
 
 When a manufacturer desires a photograph of a piece 
 of machinery, it is usually to show the capabilities of his 
 establishment, or to enable him to obtain further orders 
 for the same or similar goods; in either case it is to 
 promote his business, and when necessary, the slight 
 preparation of the machine for being photographed will 
 more than pay. 
 
 Especially if painted a dark color, the machine should 
 be specially painted; the paint to employ should be a 
 simple mixture of black and white, to about what would 
 be called a pale slate color; it should not be ordinary 
 oil color, but something of the kind called ' ' flatting ' ' by 
 painters. 
 
 White lead darkened with lamp-black and made up 
 with turpentine, with the smallest amount of oil possible, 
 or japanner'sgold size maybe used as flatting. It should 
 be borne in mind that the more matt or dead the paint 
 dries the better it will hide any inequality in the surface 
 of any large mass. In cases where the machine is set up 
 ready for work it may be impracticable to use above 
 paint, when a temporary paint may be made by mixing 
 
PHOTOGRAPHING MACHINERY. 
 
 53 
 
 whiting and lamp-black with beer, adding a little ox-gall, 
 or by mixing the whiting and lamp-black with alcohol 
 and adding a little shellac to make it stay; either of these 
 paints can be readily mopped off. 
 
 With regard to focusing the image, the operator will 
 frequently find difficulty in finding a proper stand-point; 
 either there is scarcely sufficient space to retire far 
 enough from the object, or it is too high; therefore, for 
 large machinery in a small room a wide angle lens will be 
 most suitable, and a camera having a rising front and 
 both vertical and horizontal swings. 
 
 A slight observation will generally enable the operator 
 to notice any important part that receives less light than 
 another; the use of a reflector made of white paper will 
 improve definition at that point, and sometimes a sheet 
 of paper may be placed behind any aperture to show its 
 outlines more clearly, if the back-ground should be dark. 
 
 Avoid, if possible, a stand-point that will give a window 
 as a back-ground, and expose for the darkest parts, allow- 
 ing the better lighted portions to care for themselves. 
 
 In photographing machinery, which has not been spe- 
 cially painted, the outline will be better if a light back- 
 ground be used if the machine be dark, and a dark back- 
 ground if the machine be light. 
 
54 
 
 A FKW GENERAIv HINTS. 
 
 A FEW GENERAL HINTS. 
 
 See that all solutions are properly labeled. 
 Keep all solutions in bottle, well stoppered. 
 Lenses should always be kept carefully protected. 
 Keep plates in a cool, dry place, to prevent them from 
 spoiling. 
 
 A quill pen makes a capital lifter for the plate during 
 development. 
 
 A rubber stopper is preferable to one of cork, especially 
 for ammonia. 
 
 Do not allow the camera or lens to remain in the sun 
 when not in use. 
 
 Provide yourself with an extra ground-glass when going 
 a long distance. 
 
 Prefer over-exposure to under-exposure, providing you 
 can restrain your developer. 
 
 Keep ready sensitized paper in a box or drawer, away 
 from light, and in a perfectly dry place. 
 
 In any view, expose for the darker parts of the view, 
 leaving the better lighted portions to care for themselves. 
 
 If the glass stopper of a bottle be slightly smeared with 
 vaseline, it will not stick to the bottle, and the latter is 
 more nearly air-tight. 
 
 Occasionally wipe out the inside of the camera with a 
 cloth, to remove dust which, by settling on the plate, 
 will cause pin-holes. 
 
A FEW GENERAI, HINTS. 
 
 55 
 
 To make clean work, dust off the plate with a camel's 
 hair brush, after placing them in the holder; also dust out 
 the holder frequently. 
 
 Before starting on a photographing tour, carefully look 
 over your apparatus and see that everything is in perfect 
 order and that nothing is missing. 
 
 If a plate be wet with clean water before the application 
 of the developer, it will cause the developer to flow more 
 readily and evenly over the surface. 
 
 In packing bottles for transportation, as may sometimes 
 be required for a long trip, heavy rubber bands placed 
 around them will prevent breakage. 
 
 In photographing in dimly lighted interiors, it is some- 
 times desirable to render the ground-glass more transpar- 
 ent. A very sHght coat of glycerine on the ground 
 surface will have the desired effect. 
 
 Exercise care to locate the image perfectly straight on 
 the ground-glass; parallel vertical lines drawn on the 
 ground-glass about one-inch apart will aid in this; some 
 amateurs draw both vertical and horizontal lines. 
 
 Where an amateur uses smaller plates in his holders 
 than his camera is designed for, it is an excellent idea to 
 mark on the center of the ground-glass the shape and size 
 of the plate; this will be an aid to him in making the 
 size of the image correspond to the size of the plate. 
 
 The amateur should change as Httle as possible; select 
 the plates of some good maker, and if you succeed with 
 them stick to them and not go chopping and changing 
 about. The same rule will also hold good with chemicals. 
 
56 
 
 A PEW GENERAL HINTS. 
 
 To produce the effect of a snowstorm, make a thin solu- 
 tion of Indian ink and water, dip a small stiff brush in 
 this solution and spatter on the negative, taking care that 
 the spray strikes the negative at the proper angle to give 
 the effect of snow falling; do not hold the brush too close 
 to the negative, as the spray is finer and is distributed 
 more evenly if held at a distance. 
 
 When not in use the lens should always be kept covered 
 with its cap. If dusty, clean the glass with some old soft 
 linen or chamois leather, but nevej' with cotton or silk. 
 Ignorance of this fact has ruined many a fine lens. The 
 flange or collar of the lens tube is fastened to the front 
 part, or the front board of the camera, and the tube con- 
 taining the lens either screws or slides into this collar. It 
 is generally removed when the camera is packed up, rolled 
 in tissue paper, and if small, placed inside the body of the 
 camera for safe keeping and carriage. Some cameras are 
 made with the front board reversible, which places the 
 lens inside of the camera when packed, and will not jar 
 or rattle; this is a convenience. 
 
 When an amateur is on an extended trip and wishes to 
 reserve the development of his plates until his return, one 
 of the best receptacles for the exposed plate is their orig- 
 inal box; the transfer from the holder to the box and vice 
 versa, may be effected in an ordinary room at night, by 
 drawing the curtains and making the room as dark as 
 possible. In placing them in the box, take the two 
 plates from the first holder and place them face to face 
 with a piece of white tissue paper between the films, 
 
VALUABLE FORMULA. 
 
 57 
 
 around these wrap a piece of paper (orange colored paper 
 is the best, as it is to quite an extent non-actinic) , and 
 write on each side the nature of the view, length of ex- 
 posure, etc., of the plate; place them in the box and treat 
 those in the second holder in a similar manner. When 
 the box is filled, cover and wrap in paper, and write on 
 it the word ' ' exposed. ' ' 
 
 VALUABLE FORMUL.^. 
 
 No. I. 
 
 No. 2. 
 
 CARLTON'S PYRO=POTASH DEVELOPER. 
 
 f Pyrogallic Acid, - - - i ounce. 
 I Sulphite of Soda, - - 3 '| 
 
 Bromide Ammonia, - - - 20 grains. 
 Citric Acid, - ' - - - 60 " 
 
 Sulphurous Acid, - - - i ounce. 
 [Water, - - ■ - 12 " 
 
 ( Carbonate of Potash, - - 4 ounces, 
 t Water, ----- 12 " 
 
 Two drams each of Nos. i and 2 added to four ounces 
 of water makes a normal developer. A properly exposed 
 plate will develop readily with normal developer; for an 
 under-exposed plate use an excess of No. 2 ; for an over- 
 exposed plate use less of No. 2 or add more water. 
 
 CARLTON'S HYDROCHINON DEVELOPER. 
 
 r Hydrochinon, - - - ounce. 
 J Sulphite of Soda, - - 2>^ " 
 
 I Meta-bisulphite of Potash, - X " 
 [Water, . - - - 32 " 
 
 „ f Carbonate of Potash, - - 3 " 
 ^ I Water, . - - - 32 
 
58 
 
 VAI^UABI^E FORMULA. 
 
 Equal parts of A and B make a normal developer for 
 properly exposed plates; for an over-exposed plate use 
 less of B, or add more water; for an under-exposed plate 
 use more of B. After mixing a given quantity it can be 
 used over and over until exhausted, though it should be 
 kept in a separate bottle well corked. 
 
 This developer will work slower for each succeeding 
 plate, hence an old developer is excellent for an over- 
 exposed plate. 
 
 For over-exposed plates add more water or use an old 
 developer. 
 
 In using Hydrochinon developer it is an excellent plan 
 to have two mixed solutions, a fresh one for plates which 
 have proper exposure, and an old one for over-exposed 
 plates. If you think the plate may be over-exposed com- 
 mence with the old solution, and if development proceeds 
 slowly, transfer the plate to the new solution. 
 
 HYDROCHINON DEVELOPER. 
 
 In One Solution. 
 
 Hydrochinon, 
 Sulphite of Soda, - 
 Meta-bisulphite of Potash, 
 Carbonate of Potash, 
 Water, 
 
 I 
 
 X ounce. 
 
 EIKONOOEN DEVELOPER. 
 
 No. I. 
 
 r Sulphite of Soda, - 
 I Eikonogen, 
 I Glycerine, 
 t Water, 
 
 60 
 
 2 
 
 4 ounces. 
 
 I 
 
VALUABI.E FORMULA. 59 
 
 r Carbonate of Soda, - ■ 2 ounces. 
 No. 2. \ Carbonate of Potash, - - - 2 " 
 i Water, - - - - - 20 " 
 
 Use three ounces of No. i to one ounce of No. 2 for a 
 normal developer for landscape work where plate has had 
 full exposure. 
 
 For very short instantaneous exposures use the formula 
 below or you can use it to strengthen the above developer 
 for short exposures. 
 
 Eikonogen developer can be used over and over but of 
 course must be kept in a separate bottle and well corked. 
 
 EIKONOGEN DEVELOPER. 
 In One Solution. 
 
 Sulphite of Soda, - - - 4 ounces. 
 
 Eikonogen, - - - - - i " 
 Glycerine, - - - - - 2 " 
 
 Carbonate of Potash, - - - i " 
 Carbonate of Soda, - - - i " 
 
 Water, - - - - - - 36 " 
 
 For plates which have had full exposure use this 
 developer diluted with about equal quantity of water. 
 Strengthen from the stock solution as required. 
 
 After using this developer, put in separate bottle, and 
 it can be used over and over again. 
 
 To dissolve Eikonogen, place it in an earthen bowl with 
 the Sulphite of Soda and a portion of the water, and place 
 the bowl in water and bring it to boiling point. 
 
 If the Eikonogen be finely powdered by means of 
 a mortar and pestle, it will dissolve without heat by 
 shaking. 
 
6o 
 
 valuable; formula. 
 
 Kikonogen developer does not, as a rule, give as dense 
 negatives as other developers. 
 
 If more density is required, transfer the plate to a tray 
 containing water at about 70 degrees, after the detail is 
 well out, and allow to soak for from three to five minutes. 
 
 SELECTED TONING FORMUL/E. 
 
 FOR ALBUMEN PAPER. 
 No. 1 . For Purple and Black Tones. 
 
 Chloride of Gold, - . . . i grain. 
 Bi-carbonate of Soda, - - - 4 to 8 grains. 
 Water, ...... g ounces. 
 
 This bath should be made an hour before use, and does 
 not keep well, so must be used at once. For purple 
 tones use the smaller quantity of bi-carbonate; for black, 
 the larger quantity. .• 
 
 No. 2. For Sepia, Brown or Purple Tones. 
 
 Chloride of Gold, - - - . j grain. 
 Saturated Solution of Borax, - - 1 ounce. 
 Water, y ounces. 
 
 This is ready for use soon after mixing. 
 
 No. 3. For deep Brown, Purple or Black Tones. 
 
 Chloride of Gold, - . - . i grain. 
 Tungstate of Soda, - - - - 20 grains. 
 Distilled Water (boiling), - - - 8 ounces 
 
 Dissolve the Tungstate of Soda in two ounces of the 
 water, to which add the Chloride of Gold; after five 
 minutes add the remainder of the water. 
 
VALUABI.E FORMULA. 
 
 6l 
 
 No. 4-. For Deep Brown Tones. 
 
 Chloride of Gold; 
 Acetate of Soda, 
 Water, - 
 
 I gram. 
 20 grains. 
 8 ounces. 
 
 This bath keeps well and is better for being made 
 several hours before use. 
 
 TO TONE BLUE PRINTS PURPLE OR QREEN=BLACK. 
 
 Add Sulphuric Acid in small quantities until blue lit- 
 mus paper is turned slightly red, then add a few drops of 
 Ammonia until red litmus paper is turned blue; then add 
 to the solution 60 grains Catechu and allow it to dissolve 
 with occasional stirring. 
 
 To tone a print, immerse it in this bath until the de- 
 sired tone is obtained, which will be from five to ten 
 minutes. Wash thoroughly. This bath keeps well. 
 
 Blue J*rifits may be changed |o a brown color by 
 the following method. After washing and drying, im- 
 merse the print in the following solution: 
 
 Stronger Water of Ammonia, - - i ounce. 
 Water, ------- 8 ounces. 
 
 Allow the print to remain in this solution until it has 
 nearly or quite lost its blue color, which will take from 
 two to five minutes, when it should be rinsed and im- 
 mersed in the following solution: 
 
 Tannic Acid, ----- i dram. 
 Water, 6 ounces. 
 
 Borax, 
 Water, 
 
 I ounce. 
 14 ounces. 
 
62 
 
 valuable; formula. 
 
 Dissolve and filter. The print is to be removed from 
 this bath as soon as the desired sharpness and tone are 
 obtained. This last operation will occupy from ten to fif- 
 teen minutes. If the color is not dark enough at the 
 expiration of this time, it is intensified by adding a few 
 drops of ammonia, and allow the print to remain one or 
 two minutes longer and then rinse freely. 
 
 Starch, one ounce; water, eight ounces. Mix and heat 
 over boiling water until turned, then add one-half ounce 
 of glycerine. The paste so prepared keeps well in the 
 warmest weather for about ten days, and in winter an 
 indefinite time. 
 
 Dissolve the gelatine in the water first, then add the 
 arrowroot, and boil. When cool add two drams of alco- 
 hol and a few drops of carbolic acid. 
 
 MOUNTING SOLUTION. 
 
 For Scrap Books, Etc. 
 
 Nelson's Photographic Gelatine, - 2 ounces. 
 
 Water, - Bounces. 
 
 Glycerine, ounce. 
 
 Alcohol, 3 ounces. 
 
 Dissolve the gelatine in the water, then add the glycer- 
 ine and then the alcohol. 
 
 PASTE FOR MOUNTING. 
 
 ANOTHER. 
 
 Arrowroot, 
 Water, - 
 Gelatine, 
 
 3 drams. 
 3 ounces. 
 15 grains. 
 
VALUABLE FORMULA. 
 
 63 
 
 TO KEEP UNMOUNTED ALBUMEN PRINTS FROM 
 ROLLING UP. 
 
 Glycerine, 3 ounces. 
 
 Alcohol, ------ 4 ounces. 
 
 Water, ------ i ounce. 
 
 Draw the print over the edge of tray to remove the 
 surplus and dry between blotters under a light weight. 
 
 NEGATIVE VARNISH. 
 
 Sandarac, ----- 2 ounces. 
 
 Alcohol, - . - - - - 14 ounces. 
 Oil of Lavender, - - - - ij^ ounces. 
 
 Chloroform, - - - - - 2 drams. 
 
 INTENSIFIER. 
 
 Bi-chloride of Mercury, - - - 60 grains \ ^ 
 Water, -6 ounces ) 
 
 Iodide Potassium, - - - - 90 grains ) ^ 
 Water, 2 ounces J 
 
 Hypo, 120 grains 1 
 
 Water, 2 ounces J ' 
 
 When the bi-chloride of mercury is dissolved, pour No. 
 2 into No. I, and the solution will assume a scarlet color. 
 Shake well and add No. 3, which will clear the solution, 
 making it again transparent. 
 
64 
 
 EXPLANATIONS. 
 
 EXPLANATIONS. 
 
 Explanations of words, phrases and abbreviations used 
 in photography which might not be understood by the 
 beginner: 
 
 Saturated Solution — When any sohd chemical is 
 added to a liquid, the liquid will dissolve a certain amount 
 of it. When it has dissolved all that it will, the solution 
 thus formed is called a saturated solution. This can easily 
 be told, as the portion not dissolved will remain in the 
 bottom of the solution and refuse to become dissolved ex- 
 cept by the addition of more liquid. 
 
 Pyro — Means pyrogallic acid. 
 
 Hypo — Means Hypo-sulphite of soda.