,,bromide ,,printing ,,and ,,enlarging ,a ,,practical ,,guide ,,to ,,the ,,making ,,of ,,bromide ,,prints ,,by ,,contact ,,and ,,bromide ,,enlarging ,,by ,,daylight ,,and ,,artificial ,,light1 ,,with ,,the ,,toning ,,of ,,bromide ,,prints ,,and ,,enlargements ,,tennant ,,and ,,ward ,,new ,,york ,copyright #aiab by ,,tennant ,,and ,,ward1 ,,new ,,york ,,contents ,chapter ,i ,,varieties ,,of ,,bromide ,,papers ,,and ,,how ,,to ,,choose ,,among ,,them ,chapter ,,ii ,,the ,,question ,,of ,,light ,,and ,,illumination ,chapter ,,iii ,,making ,,contact ,,prints ,,on ,,bromide ,,paper2 ,,paper ,,negatives ,chapter ,,iv ,,enlarging ,,by ,,daylight ,,methods ,chapter ,v ,,enlarging ,,by ,,artificial ,,light ,chapter ,,vi ,,dodging1 ,,vignetting1 ,,composite ,,printing ,,and ,,the ,,use ,,of ,,bolting ,,silk ,chapter ,,vii ,,the ,,reduction ,,and ,,toning ,,of ,,bromide ,,prints ,,and ,,enlargements ,,chapter ,i ,,varieties ,,of ,,bromide ,,papers ,,and ,,how ,,to ,,choose ,,among ,,them ,what is bromide paper8 ,it is simply paper coated with gelatino-bromide of silver emulsion1 similar to that which1 when coated on glass or other transparent support1 forms the familiar dry-plate or film used in negative-making4 ,the emulsion used in making bromide paper1 however1 is less rapid 7less sensitive7 than that used in the manufacture of plates or films of ordinary rapidity2 hence bromide paper may be manipulated with more abundant light than would be safe with plates4 ,it is used for making prints by contact with a negative in the ordinary printing frame1 and as the simplest means for obtaining enlarged prints from small negatives4 ,sometimes bromide paper is spoken of as a development paper1 because the picture-image does not print out during exposure1 but requires to be developed1 as in negative-making4 ,the preparation of the paper is beyond the skill and equipment of the average photographer1 but it may be readily obtained from dealers in photographic supplies4 ,what are the practical advantages of bromide paper8 ,in the first place1 it renders the photographer independent of daylight and weather as far as making prints is concerned4 ,it has excellent keeping qualities1 i4e41 it does not spoil or deteriorate as readily as other printing papers1 even when stored without special care or precaution4 ,its manipulation is extremely simple1 and closely resembles the development of a negative4 ,it does not require a special sort of negative1 but is adapted to give good prints from negatives widely different in quality4 ,it is obtainable in any desired size1 and with a great variety of surfaces1 from extreme gloss to that of rough drawing paper4 ,it offers great latitude in exposure and development1 and yields1 even in the hands of the novice1 a greater percentage of good prints than any other printing paper in the market4 ,it offers a range of tone from deepest black to the most delicate of platinotype grays1 which may be modified to give a fair variety of color effects where this is desirable4 ,it affords a simple means of making enlargements without the necessity of an enlarged negative4 ,it gives us a ready means of producing many prints in a very short time1 or1 if desired1 we may make a proof or enlargement from the negative fresh from the washing tray4 ,and1 finally1 if we do our work faithfully and well1 it will give us permanent prints4 ,the bromide papers available in this country at present are confined to those of the ,eastman ,kodak ,company1 the ,defender ,photo ,supply ,company and ,j4 ,l4 ,lewis1 the last handling ,english papers only4 ,better papers could not be desired4 ,broadly speaking1 all bromide papers are made in a few well-defined varieties2 in considering the manipulation of the papers made by a single firm1 therefore1 we practically cover all the papers in the market4 ,as a matter of convenience1 then1 we will glance over the different varieties of bromide paper available1 as represented by the ,eastman papers1 with the understanding that what is said of any one variety is generally applicable to papers of the same sort put out by other manufacturers4 ,first we have the ,standard or ordinary bromide paper made for general use4 ,this comes in five different weights3 ,a1 a thin paper with smooth surface1 useful where detail is desirable2 ,b1 a heavier paper with smooth surface1 for large prints or for illustration purposes2 and ,c1 a still heavier paper with a rough surface for broad effects and prints of large size4 ,,bb1 heavy smooth double weight2 ,,cc1 heavy1 rough1 double weight4 ,each of these varieties may be had in two grades1 according to the negative in hand or the effect desired in the print1 viz43 hard1 for use with soft negatives where we desire to get vigor or contrast in the print1 and soft1 for use with hard negatives where softness of effect is desired in the print4 ,for general use the soft grade is preferable1 although it is advisable to have a supply of the hard paper at hand as useful in certain classes of work4 ,the tones obtainable on the ,standard paper range to pure black1 and are acceptable for ordinary purposes4 ,for pictorial work or special effects other papers are preferable4 ,platino-,bromide paper gives delicate platinotype tones1 and where negative1 paper and manipulation are in harmony1 the prints obtained on this paper will be indistinguishable from good platinotypes in quality and attractiveness4 ,this paper comes in two weights1 ,platino ,a1 a thin paper suitable for small prints1 and having a smooth surface useful for detail-giving2 and ,platino ,b1 a heavy paper with rough surface1 peculiarly suited for large contact prints or enlargements4 ,both varieties are obtainable in hard or soft grades1 characterized as above4 ,matte ,enamel1 medium weight2 ,enameled1 medium weight2 ,velvet1 medium weight4 ,royal ,bromide is a capital paper in its proper place1 i4e41 for prints not smaller than #h #aj inches1 and then only when breadth of effect is desired in the picture4 ,it is a very heavy cream-colored paper1 rough in texture1 and giving black tones by development1 but designed to give sepia or brown tones on a tinted ground by subsequent toning with a bath of hypo and alum4 ,this paper1 also1 may be had in two grades for hard or soft effects2 it is further adapted for being printed on through silk or bolting cloth1 this modification adding to the effect of breadth ordinarily given by the paper itself4 ,i have seen prints on this paper which were altogether pleasing1 but subject and negative should be carefully considered in its use4 ,rough ,buff papers are very similar in character4 ,monox ,bromide1 made by the ,defender ,photo ,supply ,company1 is obtainable in six surfaces2 ,no4 #c1 ,monox ,rough2 ,no4 #d1 ,monox ,gloss2 ,no4 #e1 ,monox ,matte2 ,no4 #f1 ,monox ,lustre2 ,no4 #g1 ,monox ,buff1 heavy rough4 ,the ,barnet bromide papers1 comprising ten different varieties1 differing in weight and surface texture but very similar to the kinds already described1 are imported by ,j4 ,l4 ,lewis1 ,new ,york4 ,as a suggestion to the reader desiring to have at hand a stock of bromide papers1 ,i would advise ,platino ,a1 or a similar soft paper for prints under #e #g inches2 ,matte-,enamel for soft effects1 or a similar paper1 as an alternative2 ,platino ,c and ,royal ,bromide for soft effects1 or similar papers1 for prints #h #aj inches or larger1 and for enlargements4 ,to these might be added a package of ,standard ,b1 and another of one of the above varieties for hard effects1 to complete a supply for general purposes4 ,the beginner1 however1 will do well to avoid the indiscriminate use of several varieties of paper1 although he is advised to get information of all the different varieties in the market4 ,it is better to select that variety which is best suited to the general character of one's negatives and work1 and to master that before changing to another4 ,it is true that an expert can get more good prints on bromide paper1 from a given number of bad negatives1 than another expert can get with the same negatives and any other printing paper2 but it is also true that for the best results on bromide paper the variety of paper used should be suitable for the negative4 ,it will be found1 however1 that this word suitable covers1 in bromide printing1 a much wider range than is offered by many printing papers4 ,in fact there are only two sorts of negatives which will not yield desirable prints on bromide paper3 first1 an exceedingly weak1 thin negative lacking in contrast and altogether flat2 and second1 a very dense negative in which the contrasts are hopelessly emphatic4 ,even in such cases1 however1 it may be possible to modify the negatives and so get presentable prints4 ,the ideal negative for contact printing on bromide paper is one without excessive contrasts on the one hand1 and without excessive flatness on the other4 ,a moderately strong negative1 such as will require from three to five minutes in the sunlight with a print out paper1 fairly describes it4 ,in other words1 the negative should be fully exposed and so developed that there is a fair amount of density in the shadows4 ,i have never been able1 with bromide paper1 to get the detail in the shadows of under-exposed negatives1 such as we see in a good print made on glossy printout paper4 ,for this reason the use of bromide papers with under-exposed negatives is not advisable4 ,but there are a great many negatives which1 while unsuitable as they come from the drying rack1 can be easily adapted to the process by slight modifications4 ,a very dense negative1 for instance1 may be reduced either with the ferricyanide of potash or persulphate of ammonia reducer2 and a thin negative with proper graduations can frequently be intensified to advantage in the print4 ,while1 as has been said1 there is great latitude in the matter of the negative1 this latitude should only be availed of when necessary4 ,local reduction or intensification of the negative is seldom necessary1 as better results can usually be obtained with bromide paper by dodging in the printing4 ,,chapter ,,ii ,,the ,,question ,,of ,,light ,,and ,,illumination ,thus far we have gained a general understanding of the different papers and the characteristics desirable in negatives4 ,before we take up the actual manipulation of bromide paper there are a few elementary principles bearing on the important detail of illumination which we must master4 ,these may necessitate a little thinking1 but a practical grasp of them will make our after-work much easier1 and ensure that fairly good prints from poor negatives will be the rule instead of the exception4 ,in the first place we have often read that a strong light overcomes contrasts1 while a weak light increases them4 ,yet how many of us realize when we come to make prints by any process exactly what this means2 in other words1 how many of us apply the rule in everyday practice8 ,it is very easy to see what is meant by the rule if we will take an ordinary negative1 such as a landscape with clear sky1 and hold it first six inches from a gas-flame and then six feet4 ,it will be found in the first case that the sky portion is translucent while the clear glass will1 of course1 be clear2 in the second the sky will be opaque and the clear glass still clear4 ,the contrasts have been rendered greater by removing the negative further from the light-source4 ,as this is true in the extreme case given1 so it is true in a smaller degree where the distances are only slightly varied1 as well as where we deal with the graded portions of the negative instead of with only clear glass and the densest portions4 ,it is this fact that we utilize in bromide printing2 and it is because we have such unlimited control over the strength of our light that it is possible with it to get equally good prints from a wide range of negatives4 ,it is very much simpler and more practicable to regulate the strength of the light by increasing or diminishing its distance than by interposing sheets of paper1 ground glass1 or opal1 as is occasionally done with other processes4 ,the necessity1 however1 for occasionally changing the strength of our light in this manner may seem to introduce an element of uncertainty into the problem of exposure2 but there is another rule which brings it back again to simplicity itself1 and enables us to quickly calculate equivalent exposures at varying distances from the light-source4 ,this rule is3 ,the intensity of illumination varies inversely as the square of the distance from the source of light4 ,for instance if a given negative requires five seconds exposure at one foot from the light1 it will have an equivalent exposure if exposed for twenty seconds at two feet1 the square of one being one1 and of two being four4 ,it remains then only to apply these two rules to our actual work with bromide paper4 ,the shadows in a certain negative will receive full exposure1 say1 in eight seconds at one foot from the light2 but the high lights of the negative are so dense that no light will penetrate them at that distance from the light in that length of time4 ,hence a stronger light must be used1 or the action of the same light continued for a longer time2 but the latter will not do since the effect would be to over-expose the shadows4 ,hence1 knowing that a strong light overcomes contrasts1 we move the negative to the distance of six inches1 where the rule tells us the equivalent exposure will be one-fourth that at twelve inches1 in this case two seconds4 ,here the shadows get no more light1 but it is possible that the high lights of the negative will be penetrated by reason of the additional force of the light4 ,on the other hand we have a thin1 flat negative requiring for the shadows two seconds exposure at one foot from the light4 ,knowing that a weak light increases contrasts we move the negative three feet from the light1 and instead of two1 give eighteen seconds exposure1 the rule telling us that this is equivalent4 ,thus we are enabled to regulate the strength of our light to suit the character of our negative4 ,but a standard distance of one foot will not suit with all kinds of lights or with all sizes of negatives4 ,if1 for instance1 our light is a ,welsbach burner1 giving an intense and comparatively white light1 we will find that a normal negative will print too flat if exposed at one foot4 ,in such a case two or even three feet would be a better standard4 ,experience with our light will1 however1 furnish the best standard1 always taking a standard negative for the tests4 ,illustration3 ,fig4 #a ,the size of the negative also has its influence on the unit of exposure4 ,for instance1 we may have a half-inch oil-burner1 in which case we would probably have to expose a standard negative at four inches in order to get the proper contrasts4 ,but this is out of the question with a negative of #e #g or over1 as a reference to the diagram1 ,fig4 #a1 will clearly show4 ,here we find that while the centre of a negative is four inches from the light the extreme edges will be over five inches from it1 the rule as to intensities telling us that the light at the edges will be only #af_/be of that at the centre4 ,this would result in a marked falling off of light at the corners1 and would necessitate a constant motion of the printing frame throughout exposure1 which is not wholly satisfactory4 ,the remedy would be to use a stronger light at a greater distance4 ,but another reference to ,fig4 #a will show that if a #e #g negative be held at seven inches from the light the difference will be only as #di is to #ef1 which can in practice be disregarded1 though it would be better to have it even less4 ,hence we see that it is never safe to have our unit less than the base-line of our plate1 and it is better to have it even greater1 as we will frequently be obliged to halve the distance to overcome contrasts4 ,it follows from this that the larger our negatives the stronger must be our light4 ,now all of these considerations may make very dry reading1 but the reader who has followed them closely will see how vital they are to successful work4 ,it should not be thought1 however1 that every exposure on bromide paper must involve an arithmetical calculation4 ,on the contrary1 once the proper distance from the light for the normal negative has been ascertained1 it will be found that nine negatives out of ten will require no change in the distance from the source of light4 ,this1 of course1 presuming that we classify our negatives and enlarge from those of the same quality at the same time4 ,one great objection to the use of bromide paper is that it must be handled in a dark-room4 ,but this objection is not as serious as it may seem4 ,an ordinary living room at night furnishes a delightful place in which to make prints1 if we handle our solutions with reasonable care4 ,the ruby glass can be removed from the dark-room lamp1 and the orange glass used alone4 ,but in this case1 as indeed with the ruby light1 care must be taken to guard against too much light4 ,development should be conducted at a distance of several feet from the light1 and when almost completed1 the tray can be brought close under the light to enable the worker to stop it at exactly the right moment4 ,ordinary bromide paper is about as sensitive as the process or slow dry plate or the average lantern-slide plate1 and requires as much care as either1 but not nearly so much as the most rapid dry plates4 ,if fogging is noticed1 of course additional precautions should be taken at once4 ,,chapter ,,iii ,,contact ,,printing ,,on ,,bromide ,,paper ,nothing more than will be found in an ordinary dark-room will be found necessary in bromide printing by contact1 unless it be some arrangement for determining readily the distance of the negative from the source of light4 ,for this purpose and with an oil-lamp1 use a board a foot wide and about three feet long placed on the developing bench against the base of the dark-room lamp4 ,it should be marked with black lines six inches apart4 ,see ,fig4 #b4 ,illustration3 ,fig4 #b ,greater uniformity in lighting will be gained if a piece of white cardboard be placed immediately behind the flame4 ,some lamps have reflectors1 in which case the card is unnecessary1 provided that they reflect the light uniformly2 otherwise such reflectors are worse than useless4 ,having arranged the needful apparatus to our satisfaction1 the last preparatory step before manipulation is the making up of a developer4 ,almost any of the modern developers 7pyro excepted7 will give good results with bromide paper4 ,in every package of paper will be found the developers advised by the manufacturer of the paper used4 ,invariably there is among these a formula for ferrous oxalate developer4 ,this is probably the best of all developers for pure black tones1 but ,i cannot advise the novice to take it up in the early stages of his work with bromide paper4 ,when this developer is used an acid clearing bath is necessary1 and this invites complications which may be disastrous to the prints4 ,when experience has been gained1 and a large number of prints are to be made at one time1 it will be found advantageous as working longer with greater efficiency and more uniformity than some of the other developers4 ,it is troublesome to prepare and does not keep well1 apart from which there is the disadvantage that it does not permit of control in development in as large a measure as other developers4 ,a reliable metol and hydroquinone formula is as follows3 ,thoroughly dissolve metol1 #a_/d ounce2 hydroquinone1 #a_/d ounce2 in water1 #hj ounces2 add sulphite of soda 7cryst471 #d ounces2 and carbonate of soda 7cryst471 #b-a_/b ounces4 ,bottled in #d-ounce vials and well corked1 this developer retains its working power indefinitely4 ,for normal exposures ,i take #b ounces of the above and add to it #b ounces of water4 ,this will suffice for the development of three #h #aj sheets of paper1 or their equivalent in smaller sheets4 ,it is not wise to attempt to make it do more1 as greenish tones will result4 ,for the same reason1 contrary to common opinion1 ,i do not advise the addition of potassium bromide to the developer4 ,it does not improve the developer1 and may do harm4 ,an excellent developer which must be used freshly mixed1 and may be made up in a moment1 is as follows3 ,take #a-a_/b ounces of a #be per cent solution of sodium sulphite2 dry amidol1 #cj grains2 #e to #aj drops of a #aj per cent solution of potassium bromide1 and dilute with #d-a_/b ounces of water4 ,a supply of new developer should be added as this is seen to become exhausted4 ,other developing formulae could be given1 but these two will be found to fill all requirements if properly compounded and intelligently used4 ,the greatest difficulty in developing bromide paper is to get rich black tones when desired1 but this can be completely overcome by using entirely fresh developer from time to time1 and never over-working the developer1 whatever it may be4 ,as compared with the paper1 developer is cheap1 and it is poor economy to save on the latter4 ,except in rare instances the developer is better without any modifications whatever4 ,in case of over-exposure1 either general or partial1 the developer after having been diluted as stated should be again diluted with its bulk of water4 ,this gives blacker tones and more depth and life to the shadows4 ,when through inadvertence we under-expose a print it may frequently be saved after partial development in the weak solution by flooding with a strong undiluted developer4 ,the temperature of the developer is of the greatest importance4 ,in summer the aim should be to keep it approximately at #fe degrees ,fahr41 in winter1 #gj degrees1 but it should never be allowed to go over the latter4 ,this can readily be accomplished by placing the graduate in a receptacle containing ice-water in summer or hot water in winter4 ,the paper is first opened at a safe distance from the dark-room light1 and it is well at first to cut up one sheet into several slips to use as test-strips4 ,if any difficulty is found in determining which is the sensitive side1 it will be well to throw a piece of the paper on a plane surface when it will be seen that it has a slight tendency to curl4 ,the concave is the sensitive side4 ,taking a standard negative we first take one of the test-slips and place it upon the negative so that it covers a portion containing both high lights and shadows4 ,with an oil-lamp having a #a-;inch burner1 expose the test-strip behind the negative in the printing frame at one foot for ten seconds4 ,close the lamp and flood the exposed strip with the developer4 ,the image should appear in a few seconds1 and if properly exposed development will be completed in from one to two minutes1 usually one4 ,rinse for a moment1 and place the strip in a fixing bath made up by dissolving #c ounces of hypo in #af ounces of water4 ,after a few moments examine the strip in full light1 and see whether the contrasts are right4 ,if so1 expose a full sheet of paper1 this time rinsing the exposed sheet before development to avoid the formation of air-bubbles4 ,if the contrasts are too great try a strip at six inches from the light and two and a half seconds exposure4 ,if still too great1 use a stronger light or try a longer exposure and use a very dilute developer4 ,if still too great the negative is hopeless and should be reduced unless dodging will help it1 as set out further on4 ,it will be noticed that this method calls for a one-minute development4 ,this is desirable for several reasons3 first1 because it gives a unit and assists us in determining the correct exposure of other negatives1 and second1 because it is a comparatively short development1 and yet gives sufficient time after the image has acquired the proper depth to pour off the developer and flush with water1 thus stopping development4 ,it also leaves sufficient margin in the event of over- or under-exposure4 ,with one minute as the unit1 over-exposure will result in a fully developed image in1 say1 thirty seconds4 ,this print we could save2 but if our unit were thirty seconds it would be extremely difficult to save a print which had completed development in fifteen seconds4 ,the chances are that the development would go on to a ruinous extent before we could pour off the developer and flood the print1 or that it would go on even after the water was poured on it4 ,moreover1 in case of under-exposure1 two minutes would not be so very tiresome1 but four minutes would1 besides which we would risk straining the print by such prolonged development4 ,while ,i am not prepared to assert it as a rule1 yet it has been my experience that the time of development varies almost inversely with the length of exposure2 so that if the test-strip concludes development in half a minute with ten seconds exposure1 ,i give the next five seconds exposure in the expectation that it will take a minute to develop4 ,this assists greatly in lessening the number of test-strips required to ascertain the correct exposure of a given negative4 ,should we wish to see a proof before the negative is dry1 it is taken from the fixing bath and well rinsed1 though not necessarily thoroughly washed4 ,it is then placed face up in a tray of water1 on which we place face down a sheet of bromide paper4 ,the two are removed together and squeezed lightly into contact to remove air bubbles4 ,the back of the negative is then wiped to remove superfluous water1 and an exposure of several times the normal given1 preferably the normal exposure at half the standard distance from the light4 ,the paper is then removed and developed as usual4 ,in this way it is possible to show a print in fifteen or twenty minutes after the exposure of the plate was made4 ,the purpose of the rinsing before development is to avoid the possibility of air-bells4 ,the paper should be rinsed in cold water1 as warmish water will cause air-bells instead of preventing them4 ,this rinsing can be dispensed with if thought desirable4 ,the rinsing after development is for the purpose of stopping development immediately1 and also in order that the prints may not go into the fixing bath full of developer1 as staining would be likely to result in such case4 ,with the iron oxalate developer an acid rinsing bath is necessary1 but it is not necessary with any of the other developers4 ,the fixing is important1 as upon this depends in a large measure the permanence of the prints4 ,the bath should be freshly made up1 #c ounces of hyposulphite of soda to #af ounces of water4 ,prints are placed in this bath face down1 and one under1 instead of on top of another4 ,the tray should be occasionally rocked4 ,with a fresh bath prints will fix in ten minutes1 but where many prints are made at one time it will be well to use a second fixing bath4 ,the emulsion of an unfixed print will appear a yellowish tinge in the unfixed portions when examined by transmitted light2 but this is not an easy or certain test4 ,it is better to make absolutely certain of thorough fixing by continued immersion1 occasional rocking and1 where many prints are made1 a second bath4 ,the fixing bath should not be allowed to get too warm in hot weather4 ,blistering1 staining and frilling will result in such a case1 and ,i have known a print which was left in a warm fixing bath for an hour or more to be reduced beyond redemption4 ,with freshly made hypo baths at a suitable temperature there is absolutely no danger of the paper frilling or blistering4 ,the final washing must be thorough1 as the hypo is difficult to eliminate from both the emulsion and the paper4 ,care must be taken to see that the prints are well separated while washing4 ,this ensures uniform washing4 ,it frequently happens that a negative may require more or less dodging in printing4 ,with bromide paper this is particularly easy4 ,we will take the simple case of a negative with dense sky which will not print out in the ordinary way4 ,all that we need in this case is a piece of paper cut roughly to the sky line and kept moving during part of the exposure over the part which is to be held back4 ,if necessary1 cut down the light in order to prolong the exposure1 or expose at a greater distance from the light4 ,one or more test-strips will be required for this purpose in order to ascertain the relative times of exposure4 ,a modification of this method is when a small portion of the negative only needs extra printing--a face or hand for instance4 ,here we take a piece of paper a little larger than the negative and cut a small hole in it1 moving it in front of the light so as to throw the latter only upon the portions needing the extra printing4 ,still another modification is where a portion only needs holding back4 ,here we use a small piece of paper or cardboard stuck on a knitting needle1 moving the latter so that it will not intercept the light too long at one place4 ,in all these and similar instances which will occur to the reader1 the dodging should be done during the first part of the exposure4 ,the subsequent exposure seems to obliterate traces of such dodging better than when it is done at the end of the exposure1 just as in cloud-printing better results are achieved by printing the sky first and the foreground afterward4 ,it is quite possible to make bromide negatives in the camera4 ,they have their advantages in classes of work not requiring the finest definition1 are much lighter1 cheaper1 more easily stored and less liable to breakage or other mishaps4 ,they are best made on a thin1 smooth paper1 a soft paper being better than the hard4 ,they are placed in the plate-holder by means of the ordinary cut film holder4 ,the exposure required is ascertained by a trial or two1 but roughly speaking is about one-twentieth that of a rapid plate4 ,after development in the usual way--it being carried only a little further than usual--and after fixing1 washing and drying1 the paper negative can be spotted or retouched1 after which it is waxed4 ,,chapter ,,iv ,,enlarging--,,daylight ,,methods ,in taking up enlarging a full knowledge of what has been said as to the manipulation of bromide paper will be necessary1 as the principles governing exposure apply here as in contact printing1 errors being even more serious1 owing to the greater waste of material4 ,for the illuminant used in enlarging1 we may employ either daylight or artificial light4 ,the former is cheap1 but variable2 the first cost of the latter is quite a little sum1 but the light is uniform4 ,a daylight enlarging apparatus can be made for a dollar or two1 and hence is within the reach of all2 and if the process be given up1 the loss is not serious4 ,if the cost is of little or no moment1 very serviceable enlarging cameras can be bought for about twenty-five dollars4 ,such a camera is adapted for reducing as well as enlarging1 and so will be found useful for lantern slide making1 copying1 etc4 ,as a matter of fact1 few things are as useful to the amateur as a good enlarging outfit4 ,we will first consider enlarging by daylight with home-made apparatus4 ,for this purpose a room with at least one window will be needed4 ,it should preferably be convenient to the dark-room4 ,if the window of this room commands a view unobstructed by buildings1 trees or the like1 so much the better4 ,i personally prefer a south light4 ,with this one can get soft enlargements from the most contrasty negatives1 while by shielding the negatives from the direct rays of the sun we can work from negatives which are quite flat and lacking in contrasts4 ,illustration3 ,fig4 #c ,but whatever the room chosen1 all windows but the one at which we are to work must be blocked up4 ,this can be done by heavy dark curtains1 or by specially constructed frames covered with light-tight material and made to fit closely in the windows4 ,if there are any transoms these should likewise be covered4 ,white light entering under the doors can be shut out by placing a rug along the bottom of the door4 ,care must be taken that the window-frames fit closely1 as the light from openings at the windows would soon fog a sheet of bromide paper if it fell upon it even for a few moments4 ,illustration3 ,fig4 #d ,assuming that the room chosen can be made practically light-tight1 we will need some arrangement to hold the negative4 ,the details of a box for this purpose can best be shown by a diagram 7,fig4 #c74 ,,abcd is a strong and neatly made box open at both ends1 and about two inches larger each way than the largest negative from which enlargements are to be made4 ,e represents a section of a board which forms part of a window frame1 a general view of which is given in ,fig4 #d4 ,reverting to ,fig4 #c1 ,f is an opening cut in the side of the negative box two inches or a little less from the back of the box1 ,,ad1 and wide enough to admit the free passage of a negative in a kit or other holder4 ,on the inside of the box are tacked strips1 ,,gggg1 to serve as a guide to the kit when placing it in the box4 ,an opening similar to ,f should be made in the other side of the box to permit lateral adjustments when we come to use the apparatus1 besides enabling us to put the negative in or withdraw it from either side4 ,a convenient modification of the strips1 ,g1 is found by placing the front ones a short distance further forward1 to wit1 toward ,,bc1 as they are shown in the cut 7,fig4 #c71 and tacking to them a piece of watch spring1 ,h1 this then serving both as a guide and as a means of pressing the kit or negative holder against the other strips1 ,,gg 7,fig4 #e74 ,illustration3 ,fig4 #e ,j is a sheet of ground-glass1 which is tacked over the opening when the box is firmly set in the board1 ,e4 ,it is well to have this ground-glass fixed in place so that it can be readily removed if desired4 ,illustration3 ,fig4 #f ,the necessity for having the box at least two inches larger each way than the largest negative from which enlargements are to be made is shown in ,fig4 #f4 ,here ,,ab represents the negative in place1 ,,ca1 ,,db and ,,eg represent rays of light entering the box4 ,it will be seen that the rays ,,ca and ,,db strike the ground-glass at an angle1 but nevertheless at an angle which results in their passing through it in a considerable degree4 ,they strike the negative ,,ab1 but if the negative were the full size of the box1 to wit ,,fg1 it will be seen that while the section ,,ab would be fully lighted1 the sections ,,af and ,,bg would receive no oblique rays at all1 and hence the negative would not be even approximately uniformly lighted4 ,this point is too often overlooked in the construction of apparatus of this character1 but is necessary in all cases of daylight enlarging and especially when direct sunlight is used4 ,now with the negative box in place1 some arrangement must be made for holding the lens1 which can be the lens used for making the negative4 ,this for enlargements of a fixed size from negatives of a given size can be accomplished by simply extending the section ,,bggc ,fig4 #c1 to a proper distance and placing the lens in the end of it2 but this permits too little opportunity for adjustments and is not advisable4 ,a double box1 one sliding within the other1 would be better1 but still not quite satisfactory4 ,it is far better to adapt one's camera to the apparatus1 and this can always be done2 it being very simple with a reversible back camera1 which can be backed right up to the opening1 and more difficult but always possible with others4 ,fig4 #g shows the entire apparatus in place1 and the manner in which it is used4 ,,ab is the window board1 ,c is the negative box1 ,d is the camera adjusted to the latter1 ,e is the enlarging screen on an easel to hold the bromide paper1 and ,f is the reflector4 ,the screen on the easel can be made either to rest on the floor or on a table4 ,it can be made to run on a track or otherwise1 and it can also be made so as to admit of either vertical or lateral adjustment or both1 or it can be nothing more than an ordinary box set on a table4 ,but however constructed it must be considerably larger than the largest sheet of bromide paper which is to be used1 thus allowing for nearly all necessary adjustments of the paper4 ,it is preferably covered with white paper or fine blotter to aid in focusing4 ,the reflector ,f is considerably larger than the negative-box1 and adjusted at an angle which will reflect the light from the sky or sun evenly upon the ground glass4 ,it is best covered with good white blotting paper4 ,g is a hood which ,i have found useful in sunlight enlarging1 especially in summer when the sun is almost overhead4 ,it is placed on the outside of the window-frame1 some distance above the ground-glass1 and shields the latter from the direct rays of the sun1 which would otherwise cause uneven illumination owing to their too great obliquity4 ,the direct sun on the white reflector will give a light of high intensity4 ,in winter1 however1 when the sun is low1 it will fall directly on the ground-glass1 and this1 if the negative box be constructed as advised1 is not objectionable1 but on the contrary an advantage4 ,in ,fig4 #d the opening1 ,,fghi1 represents a sheet of ruby glass1 and can be screened while focusing if found to interfere with the worker's convenience in that operation4 ,illustration3 ,fig4 #g ,the apparatus as sketched will suffice for all ordinary work4 ,modifications of it will depend upon the ingenuity of the man who attempts to design or construct one4 ,it should be noted that the distance of the ground-glass from the negative has its influence in the strength of the light1 and it is better to have this distance not over two inches4 ,if less than one inch1 however1 the diffusion of light is not so good4 ,when the light is weak the ground-glass can be removed entirely2 the negative will thus be viewed directly against the white reflector4 ,very strong negatives giving undue contrasts may also be dealt with in this way4 ,or1 if the light is too strong for flat negatives1 the reflector can be removed entirely1 or to the same end a sheet of yellow glass can be substituted for the ground-glass1 thus increasing contrasts4 ,in fact1 a very useful and easily arranged modification of the negative-box consists of an opening in the top of the box inside the room through which can be dropped an extra sheet of ground-glass or opal to cut down the light1 or of yellow glass to increase contrast4 ,this opening should be at the point ,k1 ,fig4 #c4 ,i have referred to a kit as being the proper arrangement for holding the negative4 ,this1 after much tribulation in working with home-made contrivances1 ,i have found to be the best arrangement4 ,they come a size or two larger than the negative with which they are to be used1 and can easily be cut down to the proper dimensions4 ,with it1 also1 other kits to hold smaller negatives can readily be used4 ,it is also simple with them to fasten the negatives in place4 ,if they extend beyond the box on either side so much the better2 greater lateral adjustment can then be made4 ,the negative box1 ,fig4 #c1 is best painted dead black inside in the section ,,gbcg1 and white in the section ,,aggd4 ,the reasons for this will be obvious at a glance4 ,in enlarging from films it is well to place them between two sheets of glass of proper size1 and fasten the whole in the kit or negative-holder4 ,for this purpose use thin glass without flaws or scratches4 ,if the films are smaller than the opening in the kit1 it is well to paste a black mat on one of the glasses1 when1 after proper adjustment1 the film will remain in place between the two glasses with very little pressure4 ,enlarged negatives are very easily made with the apparatus described4 ,a contact positive can be made1 preferably on carbon transparency tissue1 and from this the enlargement made1 or an enlarged positive made first1 and from this a contact negative4 ,the latter plan is preferable1 since it admits of retouching on both positive and negative4 ,slow plates should be used throughout4 ,for those who do not care to go to the expense of experimenting with large plates1 ,i would suggest that good contact positives be first made and from these negatives on bromide paper1 ,standard ,a1 soft4 ,these negatives are treated as already described4 ,the best positive for this purpose is a thin one with full gradations of tone from clear high light to deep shadow1 without veil or fog1 but free from any suspicion of flatness4 ,,chapter ,v ,,enlarging ,,by ,,artificial ,,light ,the apparatus for enlarging with artificial light is1 as has been stated1 more expensive than that for use with daylight4 ,the negative box and screen1 however1 remain as given4 ,but we need in addition two extra pieces1 a light-box and a pair of condensing lenses4 ,the form of light-box presupposes the choice of illuminant1 and in this there is a wide range4 ,suffice it to say that a kerosene lamp with one or more one-and-a-half inch burners will be found suitable for very small work or weak negatives4 ,for larger work or stronger negatives a stronger light will be needed4 ,of these1 the first in point of strength is the arc-light1 which is too strong for ordinary negatives to be enlarged not more than fourfold on ordinary bromide paper4 ,used with any of the slower papers it will be found very serviceable and satisfactory4 ,next comes the lime-light1 which has pretty much the same advantages and disadvantages4 ,after these come acetylene1 a gas giving an intense light of high actinic power4 ,this is within the reach of nearly all1 as a first-class generator costs only about twelve dollars1 and the uses of the gas are manifold4 ,the same generators and burners can be used with a projecting lantern and will be found far more satisfactory than oil4 ,acetylene burners can be had in various sizes1 ranging in power from thirty to several hundred candle-power4 ,the carbide from which the gas is generated is not expensive and costs only a few cents each time the machine is loaded4 ,by an adjustment attached to the generator the gas is kept at a constant pressure1 and hence the light is unusually steady4 ,all in all this light has many advantages4 ,after it in strength comes the ,welsbach burner1 suitable for those having gas in the house4 ,after this comes the ordinary gas-burner1 and then oil4 ,the reader1 knowing now what will be required of his light1 can take his choice4 ,perhaps the simplest form of light-box is where the light is placed in one room and the enlarging done in an adjoining one1 the light being admitted through a suitable opening4 ,this prevents the possibility of stray light reaching the paper and is productive of no additional heat in a room presumably already hot enough4 ,if this is not feasible a light-box must be constructed4 ,as these vary so much in material and design1 and must be altered with different forms of light in use1 ,i will merely state the requirements4 ,first of these is that it must be light-tight1 and second1 that it must have adequate ventilation and be fire-proof4 ,following these in importance1 there should be a simple arrangement for looking at the light from time to time to see that it is burning properly and some means for readily attending to it if it is not4 ,having the light-box1 the burners must be placed in it properly4 ,here the shortest way out of the difficulty is to go to an expert4 ,if electricity is used go to an electrical supply house2 if gas1 go to a gas-fitter4 ,as will be seen later the flame itself must be placed in a certain relation to other portions of the apparatus1 and provision must be made accordingly4 ,in looking over the magazines and annuals we will now and then see some new method given for illuminating evenly the back of a negative in enlarging or reduction4 ,the most of these the writer has tried1 but he has never found one of them which could be relied upon to give even reasonable satisfaction4 ,if the light is apparently evenly diffused it is too weak4 ,if strong enough it is not evenly diffused4 ,hence ,i will recommend nothing short of a pair of condensing lenses1 as these have been proved by experience to be satisfactory in every respect if properly handled and cared for4 ,the diameter of these must be slightly greater than the diagonal of the largest negative from which enlargements are to be made4 ,these can be bought in pairs1 mounted or unmounted1 at about the following prices3 ---------------------------------------- -------------------- ,diameter ,focus ,pair of ,lenses ,per ,single ,lens ,inches ,inches ,mounted ,unmounted ---------------------------------------- -------------------- #d #e-a_/b or #f-a_/b #d4jj #a4be #d-a_/b #e-a_/b or #f-a_/b #f4jj #a4ej #e #f-a_/b #g4ej #a4ge #f #h #ab4jj #c4jj #h #ab #cb4jj #g4ej #i #ad #dj4jj #aj4jj ---------------------------------------- -------------------- ,the prices asked for condensers vary considerably in different price-lists4 ,they can often be had at second-hand at a decided saving of expense4 ,if it is desired to save the additional cost of the mounted condensing lenses1 they can be comparatively easily mounted by anyone at all familiar with tools in the following manner3 ,a piece of quarter-inch pine or poplar is cut to a square about an inch larger than the diameter of the lenses4 ,in the center of this is sawed out a circular opening the exact size of the lens4 ,in another board of the same dimensions is cut a circle a quarter of an inch less in diameter4 ,these boards are placed together with the grain running in opposite directions1 to prevent warping1 and the lens kept in place by a wire bent in a circle and clamped in place so as to hold the lens1 or other similar arrangement4 ,see ,fig4 #h4 ,the other lens is mounted in the same way4 ,the two are mounted with their convex sides facing each other and a slight distance apart4 ,it is better to place between them a thin sheet of finely ground glass1 as this overcomes the bad effects of slight flaws in the lenses1 which are not uncommon4 ,the combination is then boxed up4 ,illustration3 ,fig4 #h ,having now our light-box1 condensers1 negative box1 camera and screen1 they are next arranged in the order shown by ,fig4 #i4 ,a long table especially constructed for the purpose makes the best base for this purpose4 ,in putting the apparatus together there are several points to be noticed4 ,first1 the planes of the lenses1 negative1 projecting lenses and screen must all be parallel2 second1 the centers of all these should be in a single straight line1 and third1 either the light or the condensers should be so mounted as to easily slide backward or forward1 since every time the projecting lens is racked backward or forward it necessitates a corresponding motion of the condensers to or from the light4 ,illustration3 ,fig4 #i ,in constructing the apparatus1 for use with condensers and artificial light1 the same provision should be made in the negative box for inserting a piece of colored or ground glass as was made in the daylight apparatus4 ,when the diameter of the condensers is but little greater than the diagonal of the negative it will be necessary to have the latter quite close to the former1 as the cone of light from the condensers has its apex at the lens1 and hence if the negative in such a case is at a distance from the condensers the corners will receive no light4 ,reference to ,fig4 #i will show this plainly4 ,for this and other reasons it is always best to have the condensers of ample size for a given negative4 ,in fact1 before beginning to make enlargements the worker should work with one good negative until he finds out exactly what light-intensity is best suited to it4 ,this will then serve as a standard for all other negatives of the same general grade1 and variations of the light can be made as required for particular negatives1 or where the extent of enlargement is materially changed for various purposes4 ,in using the daylight apparatus1 which we will now consider1 the negative is placed in the holder opposite the center of the ground-glass1 upside down and facing into the work room4 ,the room is darkened and lens uncapped4 ,an image more or less blurred will appear on the screen4 ,if the enlarged picture is to be only slightly larger than the negative1 the lens must be racked out until its distance from the negative is but little less than its distance from the screen4 ,to make the enlargement greater we simply rack back the lens and move the screen further off4 ,there are tables which show exactly the distance which the lens must be from the negative and screen in order to get an enlargement of a given size3 ,the table here inserted covers the ordinary requirements and may be of service in constructing the apparatus3 ,,times ,,of ,,enlargement ,total distances from the negative1 in inches4 ---------------------------------------- --------------------------------------- ,times of #b #c #d #f ,enlargement ---------------------------------------- ----------------------------------- ,focus of ,to ,to ,to ,to ,to ,to ,to ,to ,lens ,easel ,lens ,easel ,lens ,easel ,lens ,easel ,lens ---------------------------------------- ----------------------------------- #f inches #bg #i #cb #h #cg-a_/b #g-a_/b #di #g #h #cf #ab #db-b_/c #aj-b_/c #ej #aj #fe-a_/c #i-a_/c #aj #de #ae #ec-a_/c #ac-a_/c #fb-a_/b #ab-a_/b #ha-b_/c #aa-b_/c #ab #ed #ah #fd #af #ge #ae #ih #ad ---------------------------------------- ----------------------------------- ,a table for enlargements of from one to twenty-five times1 with lenses varying in focal length from three to nine inches is here given4 ,,enlargements ,from the ,british ,journal of ,photography ,almanac4 ---------------------------------------- ---------------------------------------- - ,focus of ,lens ,times of ,enlargement and ,reduction ---------------------------------------- ---------------------------------- ,inches #a #b #c #d #e #f #g #h inch inches inches inches inches inches inches inches ---------------------------------------- ---------------------------------- #c #f #i #ab #ae #ah #ba #bd #bg #f #d-a_/b #d #c-c_/d #c-c_/e #c-a_/b #c-c_/g #c-c_/h ---------------------------------------- ---------------------------------- #c-a_/b #g #aj-a_/b #ad #ag-a_/b #ba #bd-a_/b #bh #ca-a_/b #g #e-a_/d #d-b_/c #d-c_/d #d-a_/e #d-a_/ab #d #c-i_/aj ---------------------------------------- ---------------------------------- #d #h #ab #af #bj #bd #bh #cb #cf #h #f #e-a_/c #e #d-d_/e #d-b_/c #d-d_/g #d-a_/b ---------------------------------------- ---------------------------------- #d-a_/b #i #ac-a_/b #ah #bb-a_/b #bg #ca-a_/b #cf #dj-a_/b #i #f-c_/d #f #e-c_/e #e-b_/e #e-a_/d #e-a_/g #e-a_/af ---------------------------------------- ---------------------------------- #e #aj #ae #bj #be #cj #ce #dj #de #aj #g-a_/b #f-b_/c #f-a_/d #f #e-e_/f #e-e_/g #e-e_/h ---------------------------------------- ---------------------------------- #e-a_/b #aa #af-a_/b #bb #bg-a_/b #cc #ch-a_/b #dd #di-a_/b #aa #h-a_/d #g-a_/c #f-d_/e #f-a_/b #f-e_/ab #f-b_/g #f-c_/aj ---------------------------------------- ---------------------------------- #f #ab #ah #bd #cj #cf #db #dh #ed #ab #i #h #g-a_/b #g-a_/e #g #f-f_/g #f-c_/d ---------------------------------------- ---------------------------------- #g #ad #ba #bh #ce #db #di #ef #fc #ad #aj-a_/b #i-a_/c #h-c_/d #h-b_/e #h-a_/f #h #g-g_/h ---------------------------------------- ---------------------------------- #h #af #bd #cb #dj #dh #ef #fd #gb #af #ab #aj-b_/c #aj #i-c_/e #i-a_/c #i-a_/g #i ---------------------------------------- ---------------------------------- #i #ah #bg #cf #de #ed #fc #gb #ha #ah #ac-a_/b #ab #aa-a_/d #aj-d_/e #aj-a_/b #aj-b_/g #aj-a_/h ---------------------------------------- ---------------------------------- ,the object of this table is to enable any manipulator who is about to enlarge 7or reduce7 a copy any given number of times to do so without troublesome calculation4 ,it is assumed that the photographer knows exactly what the focus of his lens is1 and that he is able to measure accurately from its optical center4 ,the use of the table will be seen from the following illustration3 ,a photographer has a carte to enlarge to four times its size1 and the lens he intends employing is one of #f inches equivalent focus4 ,he must therefore look for #d on the upper horizontal line and for #f in the first vertical column1 and carry his eye to where these two join1 which will be at #cj-g-a_/b4 ,the greater of these is the distance the sensitive plate must be from the center of the lens2 and the lesser1 the distance of the picture to be copied4 ,in practice it is convenient1 after having once found the focus for a given enlargement from a given negative with the lens in use1 to mark on the base of the apparatus the point to which the lens has been extended4 ,then in making future enlargements of the same size1 it is only necessary to set the lens at that point and move the easel backward or forward until an approximate focus is obtained1 when the image will be of the proper size on the screen4 ,as an approximate guide it is sufficient to know that the nearer the lens is to the negative the greater will be the enlargement1 as may be seen in ,fig4 #g4 ,if a piece of thin cardboard1 or a sheet of paper cut to the exact size of the enlargement desired1 is placed upon the easel-screen1 little difficulty will be experienced in getting an enlarged image of the proper size and correctly focused4 ,it is advisable to focus the enlargement with the largest aperture of the lens4 ,if the lens1 when working at its largest aperture1 covers the plate from which the enlargement is being made1 it will give proper definition over the enlargement4 ,with a lens of the better sort1 of course1 the definition will be equally good whether a large or small aperture is used2 but with a low-priced lens it is better to stop down to ,no4 #h 7f_/#aa4c7 or ,no4 #af 7f_/#af71 to avoid spherical aberration4 ,stopping the lens down increases the time of exposure1 and enables one to have greater control over the operation of exposing the paper1 permitting time to shade or locally increase the exposure at any portion of the image4 ,this is sometimes useful1 but as a general thing stopping the lens down is not advisable1 as interfering with one's judgment in calculating exposures for various negatives4 ,having secured the image correct in size and focus1 place thumb-tacks at all four sides of the sheet of paper or card used to focus the image4 ,these will serve as a guide to the placing of the sensitive paper4 ,adjust the lens stop as desired and cap the lens1 leaving the room totally dark save for such safe light as we may have for working4 ,place the bromide paper on the screen1 using the thumb-tacks as a guide to the correct position in this4 ,in making his first enlargements1 the beginner should avail himself of the help of test-strips4 ,these should be about one inch wide and the length of the paper4 ,the exposure depends on a number of factors1 among which are light1 negative1 focal length of lens1 size of enlargement1 stops1 sensitiveness of paper1 developer1 temperature of developer1 and length of development4 ,the first experiment had best1 therefore1 be made on a purely arbitrary basis1 for which we will take ten seconds4 ,pinning a test-strip on the screen1 we uncap the lens and with a piece of cardboard shade two-thirds of the strip during five seconds2 move the cardboard1 and give the next section five seconds making ten for the first2 then remove the cardboard entirely and give five seconds more1 making fifteen for the first1 ten for the second1 and five for the third4 ,now develop the strip4 ,if the fifteen seconds portion finishes development in less than one minute1 and the ten takes approximately a minute1 we will know that our basis was correct4 ,but if all three were over-exposed or under-exposed1 as shown by one minute's development1 we can expose the next test-strip accordingly4 ,in determining the correct exposure1 the method already set forth for contact exposures is a reasonably good one4 ,if the paper with a given exposure takes half the proper time to develop1 halve the next exposure2 if double the time1 or more1 double it4 ,more could be said on the subject of exposure1 and possibly to advantage2 for instance1 there are tables showing the exact relation of exposure to the number of times of enlargement1 but complicated calculations in the dark-room are troublesome and a test-strip is simpler4 ,after a while one gets the ability to determine the approximate exposure required by looking at the enlarged image on the screen1 correcting slight errors by length of development1 and greater ones by modifying the developer by diluting or strengthening4 ,it should be remembered1 however1 that in judging exposure by reference to the screen1 we must consider the high lights1 as well as the shadows4 ,it is in the high lights that we need the detail if we are to have soft pictures4 ,if this detail in the high lights is plentiful and clear we may know that our light is strong enough for a very short exposure4 ,if it is very faint1 we will have to give a long exposure and use diluted developer to save the over-exposed shadows4 ,on the other hand1 if the image on the screen is a flat one1 we may know that our light is too strong for the negative1 and it must be modified by removing the reflector or by interposing ground or yellow glass2 and if neither of these suffice1 we can simply lay the negative aside for a dark day when the light will be very much weaker4 ,frequently all necessary contrasts can be obtained by the use of the hard paper before referred to4 ,as under-exposure tends to increase contrasts1 we should also give the minimum exposure in the case of flat negatives1 abandoning for a time our standard one-minute development4 ,as will be seen by this time1 there are many wrinkles about using bromide paper1 and it will be found that new ones appear at every seance in the enlarging room4 ,but why is it that so many of our enlargements are black in the shadows and chalky in the high lights8 ,why1 simply because our light is too weak for our negative4 ,we forget that if we cannot modify our negative we must modify our light4 ,it is this characteristic of the bromide enlargement which has prevented the process from enjoying the popularity it deserves4 ,and ,i sometimes wonder whether this chalkiness is due to the use of the north light6 ,,chapter ,,vi ,,dodging1 ,,vignetting1 ,,composite ,,printing ,,and ,,the ,,use ,,of ,,bolting ,,silk ,of all printing processes1 bromide enlarging offers the best opportunities for successful dodging and modification4 ,we can cut our light down and take all the time we want1 or we can take as little time as we want4 ,a hand1 a finger1 a slip of paper1 or anything within reach1 will suffice to shade the light just as we want it4 ,in this connection it is well to always hold the shade nearer the lens than the easel1 as greater diffusion results and there is less danger of sharp lines4 ,in shading a foreground to bring up a dense sky1 first make a test-strip or two1 noting how long the shading is carried on and how long the light is allowed to act on the whole4 ,if the sky is then over- or under-printed we can modify it in the enlargement proper4 ,the best arrangement for vignetting in enlarging is a piece of cardboard the size of the negative1 with an opening cut out at the proper place and about the size of the portion of the negative to be vignetted4 ,this is held near the lens and moved backward and forward between the latter and the screen1 the opening showing larger as we near the lens and smaller as we recede from it4 ,very tasteful vignettes can be made in this way4 ,a favorite method of the writer's is to use a sheet of bromide paper1 preferably that with rough surface1 and print on it a small vignette of a portion of a negative4 ,these sheets being of a uniform size are then bound in book form1 and make very attractive souvenirs4 ,variety can be added to the collection by printing some of the pictures through a mat fastened on the screen over the paper1 when1 of course1 they are bounded by straight1 sharp lines4 ,double printing in enlarging is not at all difficult4 ,assuming that test-strips have been made determining the proper exposure for each negative1 ,i will briefly outline the process4 ,taking a landscape negative with clear sky in which we wish to print clouds1 we first tack on the screen a sheet of paper the size of our bromide1 and after properly adjusting and focusing it1 trace with a pencil the outline of the skyline4 ,we then remove the foreground negative and1 after tracing1 cut out a mask conforming to the size and shape of the foreground1 cutting away the sky4 ,we now put in the box the sky negative1 and readjust our sheet of paper until after proper focusing the desired portion of the sky occupies the portion reserved for it1 leaving the thumb-tacks as a guide when we put our bromide on the screen4 ,now using the sheet of paper as a guide1 place on the edges of the bromide paper two little pencil marks to show how far we shall shade the lower portion of the paper4 ,our mask being the size of the foreground negative1 it is now only necessary to hold it at the proper distance from the lens to have its edge conform to the sky-line when enlarged4 ,but this would leave a sharp line if held exactly at that point1 so using the pencil marks on the margin as a guide1 we slowly raise and lower the mask very slightly and just sufficient to cause an agreeable blending of the sky into nothing4 ,the proper exposure given1 we cap the lens1 remove the paper and insert the foreground negative4 ,now we must again adjust our sheet of plain paper until the sky line marked on it coincides with the sky-line on the screen1 leaving thumb-tacks as usual4 ,registry being thus secured1 we simply expose the foreground and develop the composite print4 ,needless to say1 our clouds must be lighted from the same general direction as the landscape4 ,but if in the negative they are not so lighted it can be reversed in the holder and will then print properly4 ,in almost all cloud printing the tendency is to give undue prominence to the clouds by printing the sky to too deep a tone4 ,this1 besides making the blending very noticeable at the horizon1 results in unnatural effects and should be avoided4 ,if the sky portion of the landscape negative is thin1 it might print slightly and spoil the effect of the clouds4 ,this can be overcome by using a weaker light in enlarging4 ,where this is not desirable1 a mask can be cut for the sky portion and used slightly while the foreground is being printed4 ,by using it a very little during the first part of the exposure the tint will be overcome1 while objects projecting above the horizon will be sufficiently printed4 ,it will be found easier1 no doubt1 to print the landscape first and sky afterwards4 ,but this does not result in good work4 ,the landscape should invariably be printed after the sky portion4 ,bolting silk enlargements were for a time very popular4 ,sometimes they were artistic4 ,then every-one began making them1 too often from unsuitable negatives1 and they fell into disrepute4 ,this method of enlarging is1 in fact1 suitable for very few negatives and only where broad effects of light and shade are desired4 ,to cut up a spotty negative with a succession of lines does not necessarily give a broad effect in the picture4 ,but for softening down heavy masses of shadows1 and blending them harmoniously with masses of light or half light1 the process is without an equal4 ,the bolting silk can be bought by the square yard of dealers in photographic supplies1 and should be stretched evenly over a frame made of quarter- and half-inch wood1 being tacked between the two strips4 ,this frame can be easily adjusted to fit over the paper on the screen4 ,by using the side1 bringing the cloth within a quarter of an inch of the paper1 the lines are more evident1 which is not so objectionable for very large work4 ,but for the softest effects1 reverse the frame and use it at half an inch from the paper4 ,in this way we get a soft diffusion of the lines and much greater general softness4 ,it should never be used nearer than a quarter of an inch1 as the lines then become too evident1 and hence fail in the effect desired4 ,the bolting silk comes in three grades1 fine1 medium and coarse4 ,the medium is the best for general work4 ,it should not1 however1 be used for sizes under #h #aj4 ,the interposition of the cloth requires about one-half additional exposure4 ,focusing1 of course1 must be done without the frame in place4 ,the bolting silk should only be used with paper which is to be toned to some color other than black1 as there is something incongruous in its use with black tones4 ,few branches of photographic work1 outside of negative-making1 are as fascinatingly interesting as the making of enlarged prints on bromide paper from small negatives4 ,every amateur has negatives worthy of enlargement in his collection1 and the process is so simple as to be within the capacity of the amateur who is still in his first year in photography4 ,its practice will stimulate his interest and help him in all his other photographic work4 ,especially will it help him in picture-making1 the merits and defects of composition being a hundred fold more plainly evident in an enlargement than in the small print from the hand-camera negative4 ,moreover1 in its essentials1 bromide enlarging calls for no special equipment other than the ordinary hand- or view-camera1 and a dark-room or other convenient work-room from which all white light can be excluded on occasion4 ,,chapter ,,vii ,,the ,,reduction ,,and ,,toning ,,of ,,bromide ,,prints ,the subsequent manipulations with bromide paper do not differ materially from those with negatives4 ,the support being paper of course makes some difference and the fact that while in the negative we aim to get printing density and printing color only1 in the positive we aim to please the eye1 makes another4 ,but generally speaking1 it may be said that whatever we can do with the negative we can do with bromide paper1 that is1 in so far as the emulsion itself is concerned4 ,the first operation to be taken up is the reduction of prints which are too dark4 ,this can best be effected just after the prints come from the hypo4 ,a few grains of red prussiate of potash are dissolved in a suitable quantity of water1 the latter being barely tinged1 not of a strong yellow color4 ,if the print is too dense throughout1 it can be immersed without previous washing in this solution4 ,reduction should take place gradually1 and this is best accomplished with a weak reducer4 ,if the tray be rocked gently the reduction will be quite uniform4 ,if1 however1 only a portion of the print needs reduction1 this can be effected by applying the ferricyanide solution locally with a brush or bit of absorbent cotton4 ,extreme care is needed in this operation4 ,in this way unduly deep shadows can be softened1 veiled high lights brightened1 or almost any modification obtained which may be deemed desirable4 ,when reduction is almost completed quickly rinse the print in running water and then wash thoroughly4 ,if the print has been dried1 it is only necessary to soak it for a few moments in a fresh fixing bath1 when the ferricyanide can be applied as before4 ,latterly the toning of bromide prints has become popular4 ,there are many methods and innumerable formulae4 ,here we shall concern ourselves with the sulphide method which best fulfills the three chief requirements1 namely3 7#a7 ,certainty of results2 7#b7 the use of few baths2 7#c7 the production of permanent prints4 ,processes which1 as regards color1 vigor1 etc41 are beyond the control of the worker1 are of very little practical use4 ,equally so1 if the toning involves a whole string of operations1 the final outcome of which is usually--a spoilt print4 ,and1 lastly1 a process which--however satisfactory it may be in other respects--impairs the undoubted permanency of a black-developed print is not one worthy of adoption4 ,in one or two other respects1 processes vary chiefly as regards the depth or intensity which the print must have in order to produce the most satisfactory result when toned4 ,thus1 prints to be toned with uranium require to be distinctly on the pale side1 whilst those for sulphide toning are best a little vigorous4 ,one or two other methods1 on the other hand1 require the use of the costly gold or platinum salts4 ,the latter1 except under exceptional circumstances1 are far better employed in the legitimate form of platinotype or other platinum paper2 bromide prints toned with platinum will probably cost more1 and will never have the absolute permanence peculiar to the platinum print4 ,placed in rough order of merit1 the processes available are3 ,sulphide toning 7hypo-alum toning is a cheaper1 slower1 and not quite so effective form of this method1 whilst the thio processes represent sulphide toning at its best72 copper toning2 toning by re-development4 ,these methods differ1 not only in the results which they give1 but also as regards the perfection with which each attains its particular effect2 on the principle of the lady in the play who spoke the absolute truth under the circumstances1 each may claim to be included among the really serviceable processes4 ,in the sulphide process1 the image which1 in a black-developed print1 consists of metallic silver in fine division1 is converted into silver sulphide1 a substance which in the ordinary way is also black1 but when produced in a fine condition on a photographic print is brown to sepia color4 ,silver sulphide is a most permanent substance4 ,therefore a sulphide-toned print should be permanent1 too1 a conclusion which is fully borne out in practice4 ,a sulphide-toned print is at least as permanent as the bromide from which it is made4 ,the image of the latter is susceptible to practically only one agent likely to come in contact with it1 namely1 sulphur fumes from burning gas1 which partially sulphurize it and give rise to iridescent markings resembling those due to stale paper4 ,now1 as the sulphide-toned print is the result of this sulphurizing process carried out with intention to a state of completeness1 the result should be--and proves to be in practice--immune to this one cause of defacement4 ,in converting the silver image into one of silver sulphide1 the method is to first act on 7bleach7 the silver image with some reagent which will change it into a compound of silver susceptible to the action of sulphide4 ,iodine has been used for this1 giving an image of silver iodide4 ,bromine gives one of silver bromide4 ,a mixture of potass bichromate and hydrochloric acid gives silver chloride1 as does also a solution of chlorine1 though in the former case the presence of the chromium compounds affects the color obtained4 ,but the best of the lot is a solution of the two substances potassium ferricyanide and potassium bromide1 which forms an image of silver ferrocyanide and silver bromide4 ,both of these are converted into silver sulphide when treated with a solution of sodium sulphide4 ,in the case of the hypo-alum process1 in which the prints are toned direct 7without bleaching7 in a mixture of hypo and alum1 the image is also changed into silver sulphide1 but only to a partial extent4 ,theoretically1 the method is not so good as sulphide proper2 it is much more inconvenient in practice except on a commercial scale1 while the results cannot be said to quite equal those by the sulphide process as regards permanency4 ,so much by way of theory4 ,we will now give the formulae for the two solutions required in the sulphide process4 ,the first of these is the bleach1 or oxidizing mixture of bromide and ferricyanide4 ,within reasonable limits1 the proportions of these salts and the quantity of each in the solution does not matter very much4 ,each chemical can1 if desired1 be kept in a separate solution if care be taken to keep the mixture in the dark1--that is1 in a cupboard where it will not be exposed constantly to daylight4 ,the ferricyanide suffers in time by exposure to daylight2 but1 as both it and the bromide are comparatively cheap and serve for a large number of prints1 there is no need to take excessive care4 ,the ferricyanide-bromide mixture1 however1 keeps very much better than a plain solution of ferricyanide alone4 ,formulae which place the salts in separate solutions are a mistake4 ,as good a formula as any is3 ,potass ferricyanide1 #cjj grains2 potass bromide1 #ajj grains1 water #bj ounces2 ,ammonium bromide may be used in place of the potassium salt in the above formula2 the difference is not marked1 but the ammonium compound tends to give a somewhat warmer brown or sepia4 ,in the case of many formulae1 it will be noticed that equal quantities of bromide and ferricyanide are recommended4 ,although1 as just stated1 variations in the formula are not at all marked in their effects1 a proportion of bromide over one-quarter of the ferricyanide does tend towards the yellowish color of which complaints are now and again heard4 ,i want to make it clear that the opportunities for going wrong with the bleacher are very small indeed4 ,without encouraging the reader to be careless let it be said that any old formula 7of ferricyanide and bromide7 for the bleacher will prove successful4 ,not so1 however1 in the case of the sulphide solution1 which requires to be very carefully made up and used4 ,sulphide1 not sulphite4 ,the material for the toning or darkening of the bleached print is the chemical substance1 sodium sulphide1 of the formula ,na#b,s4#i;,h#b,o4 ,this is purchased as small crystals which greedily absorb water and rapidly become almost liquid if not properly corked4 ,not that this totally unfits the sulphide for use4 ,sulphide which has gone liquid will at all times be found to work perfectly1 but it is of course open to suspicion1 and1 in any case1 it is not possible to know what is the strength of a solution made up with such a supply4 ,for this reason1 it is best to make up the sulphide into solution of #bj per cent strength1 and add this to water to make the toning bath4 ,and it is here that a caution must be noted4 ,the weak working solution1 which is only about #a to #b per cent strength1 keeps very badly indeed1 and should be made up fresh from the stock solution at the time of toning each batch of prints4 ,this is one of the most necessary items to bear in mind in using the sulphide process4 ,sodium sulphide is sold in various degrees of purity1 and the label on the bottle is not always in exact correspondence with the condition of the substance inside1 but the two forms which must be adhered to for sulphide toning are the ordinary pure and the pure for analysis4 ,the former can be obtained from any reliable drug store or photographic dealer4 ,it comes in small lumps1 yellowish to greenish in color2 when dissolved in water the solution will be yellow1 and will usually show a deposit which must be filtered off4 ,this sulphide will give tones which are sepia brown with most papers4 ,in the case of the pure-for-analysis sulphide1 which is the recrystallized variety1 the salt will be pure white and will form a quite colorless and clear solution in water4 ,the tone given by this kind of sulphide is usually of a more purplish color4 ,the distinct difference between the two commercial varieties of sulphide should not be overlooked1 as it allows the worker to modify the process usefully when dealing with papers differing 7as all papers do7 to a slight extent in their adaptability to sulphide toning4 ,the purer form has certainly much better keeping properties than the other1 but either1 if made up in #bj per cent solution1 keeps for a month or two at least--which is enough for all purposes4 ,the chief difference between the two is noticed in the diluted or working solutions4 ,that of the purest sulphide may be kept and used again1 though it is not really good policy to do so4 ,the supply of sulphide should therefore be dissolved as soon as purchased1 as follows3 ,stock sulphide solution--#bj per cent2 sodium sulphite #d ounces2 water to make #bj ounces4 ,the actual toning solution is made up at the time of treating the prints by mixing the above stock with water1 as follows3 ,sulphide toning bath4--,stock #bj per cent solution #c ounces2 water to make #bj ounces4 ,this makes a bath which contains about one per cent real sulphide1 corresponding with about a #c per cent solution of the sulphide as purchased4 ,if the bath is much weaker1 the tone obtained is usually not quite so good2 while1 if it is stronger1 there is danger of the print's blistering while toning1 or afterward in the washing water4 ,indeed1 some papers need to be toned in a weaker bath1 and require also to be fixed in an alum-hypo fixing bath 7see later71 so that the strength of the toning bath given above may be taken as the maximum1 and used at half or one-third strength1 as circumstances show to be necessary4 ,and1 to repeat the caution once more1 the toning bath is to be thrown away as soon as the prints have been passed through it4 ,with these points in our mind as to the making up of the solution1 we can come to the process proper4 ,the prints require to be well washed and free from hypo before being placed in the bromide-ferricyanide bleacher1 because any hypo in conjunction with the ferricyanide will form the well-known ,farmer's reducer1 and cause patchiness of the prints4 ,it is immaterial whether the prints are taken direct through the toning process or dried in the meantime4 ,some workers contend that the toning process is more regular if the prints are dried before bleaching4 ,in either case1 immersion in the bleacher will cause the fully developed bromide to disappear1 leaving only a faint brown image behind4 ,in some cases the image is fainter than in others1 the difference appearing to depend chiefly on the developer employed4 ,developers with a liability to stain will give prints which do not bleach out so completely as those made with cleaner working developers4 ,but1 in all cases1 two to three minutes' action of the bleaching solution will be ample2 if all pure black is not gone in this time1 it is a sign that the bleach is becoming exhausted4 ,the prints should be kept constantly on the move whilst in the solution1 and turned over and over to ensure equal action4 ,they are then given quite a brief rinse in running water--half a minute to a minute--and then transferred to the sulphide solution1 where they should darken to the full brown or sepia tone in a few seconds4 ,it is well always to leave them here for twice to three times the period required to give the full tone4 ,a wash of half an hour will remove the salts left in the film4 ,granted that bleacher and sulphide are in proper working order1 there is one further factor in the making of sepia prints which is of vital importance1 and that is the proper preparation of the print itself4 ,a good sulphide tone presupposes a good black and white bromide4 ,not only that1 defects in the bromide which may lie latent while the print is untoned come to light in the sulphide bath4 ,this applies to uneven fixation 7due to omission to keep prints moving in the hypo bath7 and fingering of the surface2 while1 as regards the original development of the print1 making the best of a wrong exposure will not do when sulphide toning is in view4 ,a print that is forced by long development will suffer in tone1 the result being colder and less satisfactory as regards vigor4 ,full exposure1 and development which is complete in the normal time for a perfect black print1 are the conditions for a good sepia tone1 and1 when a batch of prints is being put through1 it is well to take steps to preserve a uniform time of development in order to secure an identical tone throughout4 ,there are many different formulas for the uranium toning of bromide prints1 and ,i suppose that most of them have given good results with the workers who published their methods4 ,of those which ,i have tried1 however1 none has yielded the results which ,i have been enabled to obtain from my own formula--my own in that ,i arrived at it by patient experimenting4 ,it may be that this formula is not wholly original with myself4 ,at any rate1 ,i do not claim anything for it except that it works1 with me1 better than others ,i have tried4 ,the requirements for toning bromide prints with uranium are3 #a ounce of uranium nitrate2 #a ounce of potassium ferricyanide 7the red crystals72 #a_/b pound bottle of acetic acid--c4 p4 glacial preferred2 water2 a supply of blotting paper1 to be kept exclusively for this purpose1 and a few absolutely and chemically clean trays4 ,the expense attached to these toning processes is slight4 ,uranium nitrate costs from forty to sixty cents per ounce1 and an ounce will last a long time4 ,potassium ferricyanide costs about twenty cents per pound1 and a pound is ample for a lifetime4 ,glacial acetic acid is a little more costly1 but a half-pound bottle will prove a good investment4 ,it is used also1 as the reader will recall1 in making acid hypo for acid fixing4 ,to prepare the toning baths1 dissolve the ounce of uranium nitrate in #aj ounces of water4 ,the water should be distilled if this is easily obtainable1 and the solution should be kept in an orange-glass bottle or an ordinary bottle protected from light by a non-actinic paper wrapping4 ,dissolve the ounce of potassium ferricyanide in #aj ounces of water4 ,keep this also in an orange-glass bottle1 well corked4 ,there are many cautions about this particular salt1 and it has been said that it will not keep in solution4 ,in my practice ,i find no difficulty whatever in the use of a solution six months old1 despite the difficulties mentioned in the text-books4 ,to tone the bromide prints1 first note that the prints should have been developed and fixed and washed just as usual4 ,it is necessary that prints to be toned shall contain no trace of hypo4 ,to secure this1 the prints should be specially prepared for toning by being again thoroughly washed1 as any hypo remaining in the print will cause spots and streakiness4 ,with care at this stage the toning will give clean and bright prints1 which should be as permanent as the original bromide print4 ,i cannot give the reason why1 but1 as a general rule1 bromide prints tone better if the print has been dried after washing and rewet just before toning4 ,there may be a chemical reason for this1 but ,i am inclined to think that it is a physical one1 viz41 that the emulsion is softer after its first washing than after having been dried and wet1 so that it allows toning solution to get into the film more quickly4 ,this naturally results in more rapid toning1 and quick toning does not yield as good prints as a slower and more gradual building up of the color image4 ,having the print ready for toning as here outlined1 take #a dram of the uranium solution1 add #a_/b dram of acetic acid and then #e ounces of water4 ,in a separate graduate put #a dram of ferricyanide solution and #e ounces of water4 ,just before toning1 pour these two solutions together into the third graduate and use immediately4 ,to proceed1 lay the rewetted print face up in a clean tray and flow the freshly made toning bath 7the two solutions combined7 over the print4 ,the print and tray must be kept in motion by gentle rocking during the toning operation4 ,the toning solution tends to throw a red precipitate as it works4 ,this precipitate should not be permitted to settle on the face of the print4 ,some workers tone their prints face down1 but ,i do not advocate this1 as it is important to take the print from the toning bath at just the right moment1 and1 as the toning process is short 7six or seven minutes is usually sufficient even for the deepest red7 you need to watch the print all the time4 ,in the toning operation note that a constant quiet motion of the tray1 to keep the solution moving over the print1 is essential to success4 ,i have already given1 in an earlier paragraph1 the order in which the colors come4 ,but that order was for a normal print4 ,some prints behave differently1 and it is in the control of these unavoidable variations with different prints that skill and success come4 ,a print of a half-tone subject against a jet-black background1 a portrait1 for instance1 will hardly follow the normal order in the appearance of colors4 ,this because the half-tones will be brown and even red-brown before the toning solution has changed the dense black deposit of the background at all4 ,if the toning was stopped at this stage1 some very pretty effects in double toning might result4 ,from this explanation of the toning process1 the discerning reader will perceive the need for caution in selecting the best kind of a print for uranium toning4 ,thus a print which has a bald-headed sky will tone only in the body of the print1 but if there is any tint at all to the sky1 it also will tone1 giving an effect not much to be desired except for sunset or sunrise pictures4 ,if white high-lights are desired in the toned print1 they must be white originally and not the least bit fogged4 ,as double-toned effects in a print are not usually desirable1 those prints having deep black shadows or dark masses will be avoided4 ,the best kind of print for this method of toning is one fully exposed and slightly under-developed1 since1 when the uranium does take hold of the shadows1 it makes for an increase of contrast4 ,experience is the best teacher1 and ,i could not begin to describe in detail what the reader can himself ascertain from a few experiments4 ,some prints needing contrast should be carried far in the toning solution2 others1 not needing contrast1 will give better results if they are toned only through the browns1 and so on4 ,the reader who can spend a ,saturday afternoon with a few bromide prints1 varying in character1 will learn more from his experimenting than ,i could tell him in many pages4 ,for these experiments waste or imperfect black prints can be used with practical economy1 the chief object being to watch the progress of toning and chemical changes4 ,when the desired tone is reached1 remove the print from the toning solution and wash quickly and well in running water for fifteen minutes4 ,if washed too long1 the color of the print will fade and a dead and lifeless print will result4 ,if not washed long enough1 the yellow of the ferricyanide will remain in the print1 robbing its gradations of brightness and purity of color and impairing the permanency of the print4 ,a big advantage in this method of toning is its wonderful adaptability4 ,there is no hard and fast rule as to the proportion of the chemicals to the bulk of water used4 ,try two drams of each of the two solutions2 then three drams of each1 but watch that the print does not get beyond you in toning4 ,the only practical difference in my formula and others that ,i have seen is that ,i make my stock solution weaker than that ordinarily advised and use less of it to a certain amount of water1 because ,i prefer slow toning and the accompanying ease of control which the flash-in-the-pan formula does not admit4 ,quick toning1 like quick development1 tends to block the shadows in the print1 and if you once get bronzed shadows the print is practically hopeless4 ,not quite ruined1 however1 as a bath in a #e per cent solution of sodium carbonate will discharge the color and then1 if the print is faded1 it may be redeveloped in an alkaline developer such as metol-hydro4 ,but before it is retoned the print must be thoroughly washed1 as the presence of sodium carbonate does not permit the toning solution to do its work4 ,finally1 ,i may say that1 while a bath of acetic acid and water is often advised to stop the toning action in this method1 ,i have never found it necessary4 ,all the thin varieties of bromide paper curl badly in drying4 ,if they are to be kept unmounted it is well to immerse them in water to which has been added a few drops of glycerine4 ,this will ensure their lying flat after drying4 ,a solution of #b ounces of glycerine in #be ounces of water is advised when it is desired to make bromides on heavy rough paper remain flat1 after drying1 for book illustration and similar purposes4 ,if one is trying to rush through a bromide print1 it can be trimmed while wet by placing it on a sheet of stiff paper and cutting through both4 ,the paper will be found to cockle the mounts badly in drying4 ,aside from the glue mountant1 formula for which accompanies the paper1 ,i know no preventive except to mount the prints while dry with the dry mounting tissue4 ,as the paper when wet stretches one way considerably1 as much as a third of an inch on a ten- or twelve-inch length1 provision must be made in trimming1 especially if mounts with centers of a given size are used4 ,the paper being covered with an emulsion which in warm weather is very soft while wet1 mounting is somewhat more difficult than with some of the other papers4 ,my method is to mount not more than half a dozen at once1 placing them face down1 one on top of the other1 on a glass or ferrotype plate1 blotting off the surface water and spreading the paste over the top one in the usual way4 ,i place this on the mount and then stretch over it smoothly a damp handkerchief or piece of very thin rubber cloth1 rubbing the print down with my hands1 seldom using the squeegee and then very lightly4 ,by this method abrasion of the surface seldom results and air-bells are unknown4 ,owing to the strong contracting power of the paper in drying1 the mounting paste must be used freely1 especially at the edges of the print4 ,apart from the methods of procedure here given1 there are innumerable modifications covering every detail of contact printing and enlarging on bromide paper4 ,most of these have been given careful trial as published1 but few have quite fulfilled the expectations they created4 ,,books4 ,manuals dealing with the manipulation of the various brands of paper may also be obtained1 generally gratis1 from the various manufacturers of bromide paper or their ,american agents as follows3 ,the ,eastman ,kodak ,co41 ,rochester1 ,n4 ,y42 ,the ,defender ,photo ,supply ,co41 ,rochester1 ,n4 ,y42 ,j4 ,l4 ,lewis1 ,new ,york ,city4 ,,royal ,,albums combine all the good features you seek in an album for the proper display and preservation of your ,,unmounted ,,photographs ,,and ,,post ,,cards ,quality in ,materials ,the ,best of ,workmanship ,pleasing in ,design and ,appearance ,durability in ,service ,moderate in ,price ,a ,wide ,variety in ,styles and ,sizes ,bindings in ,all ,desirable ,colors and ,finishes ,leaves and ,covers of ,harmonious ,coloring ,ask ,your ,dealer to ,show ,you ,,royal ,,albums ,,manufactured ,,by ,f4 ,l4 ,,schafuss ,,company #bjj ,,fifth ,,avenue1 ,,new ,,york ,makers of ,albums ,exclusively ,,to ,,professional ,,and ,,amateur ,,photographers ,write us at once for particulars regarding our new ,multi-,speed ,flashlight ,attachment for our ,,multi-,,speed ,,shutter ,it is a simple device operating in conjunction with the ,multi-,speed ,shutter and attached to same with a screw on the back of the shutter4 ,illustration ,illustration ,it makes high speed photography practicable under all conditions4 ,takes photographs of moving objects in #a-ajjjth second4 ,especially valuable for making instantaneous full-timed pictures of babies1 aged and nervous people1 groups1 etc4 ,invaluable to press photographers for making race starts at night1 indoor athletic events and all kinds of newspaper illustrations hitherto impossible4 ,send for a free ,specimen ,photograph and ,detailed ,information 99 99 99 99 99 ,,the ,,multi-,,speed ,,shutter ,,junior ,simple1 ,efficient1 ,moderate in ,price ,based on the principle of the famous ,multi-,speed ,shutter4 ,gives accurate exposures up to #a-ejjth second1 in addition to the usual slower speeds4 ,extremely compact for the small camera4 ,easy in operation4 ,highest efficiency in illumination and definition4 ,widely endorsed as the simplest and best shutter sold even at a higher price4 ,illustration ,send for ,detailed ,information and ,,free ,illustrated ,catalogue ,,multi-,,speed ,,shutter ,,co41 #cag-cbc ,east #cdth ,street ,,new ,,york ,,lande',s ,patent ,enlarging ,lamp ,,patented ,puts ,enlarged ,pictures ,within ,reach of ,everyone4 ,converts any ,camera into an ,enlarging ,lantern without the use of ,condensers4 ,illustration3 ,showing ,camera and ,enlarger in position ,illustration3 ,showing ,back ,open and ,interior ,arrangement ,enlargements made at home in any room which can be darkened4 ,by means of this lamp and his regular camera any amateur is equipped to make enlargements on bromide paper4 ,it is fitted with two incandescent gas lamps4 ,the light is reflected so as to give a perfect even illumination over the entire surface of the negative4 ,the time of exposure varies according to the power of the light1 the density of the negative and size of the enlargement4 ,approximately an average negative enlarged to four times the original size will take about one to one and one-half minutes4 ,prices ,no4 #a4 ,for #e #g and smaller negatives #ab4jj ,no4 #b4 ,for #h #aj and smaller negatives #ae4jj ,ask your dealer to show you ,,manufactured ,,by ,,george ,,murphy1 ,inc41 #eg ,e4 ,ninth ,st41 ,new ,york ,cheap ,blotting ,papers are expensive in use and may ruin your prints4 ,there is practical economy and comfort in the use of ,,photo ,,finish ,,world ,,blotting ,the ,best for ,twenty ,years ,made expressly for photographic use4 #ajj pure cotton fibre1 very absorbtive and non-linting4 ,absolutely free from anything that can injure the photographic print4 ,notable for its smooth1 hard finish1 giving durability in use4 ,try it and you'll use no other4 ,,unequalled ,,in ,,quality ,,economy and ,,satisfaction ,your dealer can supply you if you will insist on getting ,photo ,finish ,world4 ,it is worth insisting upon4 ,manufactured by ,,the ,,albemarle ,,paper ,,mfg4 ,,co4 ,richmond1 ,va41 ,u4 ,s4 ,a4 ,,duratol ,,non-,,poisonous ,,rapid ,,developer ,produces essentially the same results as other coal-tar developers4 ,it is economic by reason of slow exhaustion1 and its solutions are stable for many months1 the bottles need not be kept filled to the neck4 ,it produces fog-free negatives with the right amount of density in the high lights1 a wealth of detail in the shadows and great softness4 ,,best ,,formula ,,for ,,plates1 ,,films ,,and ,,slow-,,working1 ,,contrasty ,,gaslight ,,papers3 ,hot ,water #cb oz4 ,duratol #ae grains ,soda ,sulphite dry #c_/d oz4 ,potassium ,carbonate dry #a oz4 ,hydroquinone #ge grains ,development complete in from #b to #e minutes4 ,,an ,,excellent ,,formula ,,for ,,soft-,,working ,,papers 7,,arturo1 ,,cyko ,,and ,,artex73 ,hot ,water #ce oz4 ,duratol #ae grains ,soda ,sulphite dry #a-b oz4 ,potassium ,carbonate dry #c_/d oz4 ,hydroquinone #fj grains ,development complete in about #b minutes4 ,sample upon request from ,,schering ,,glatz #aej ,maiden ,lane--,new ,york ,make ,your ,own ,enlargements ,illustration ,the ,,graphic ,enlarging and ,reducing ,camera ,with this camera you can make enlargements of any size with either daylight or artificial light4 ,no condensing lenses are required4 ,the reflecting cone supplied with each camera distributes the light evenly over the entire surface of the negative4 ,,price ,including ,negative ,carrier and ,kits and three sheets of diffusing ,ground ,glass4 ,no4 #a4 ,for ,negatives #e #g and smaller #bh4jj ,no4 #b4 #h #aj #ce4jj ,no4 #c4 #aa #ad #de4jj ,,folmer ,,schwing ,,division ,eastman ,kodak ,co4 ,,rochester1 ,,new ,,york ,,we ,,recommend ,agfa ,,amidol ,,for ,,developing ,,bromide ,,work ,send an ,agfa ,label and #aj cents for a copy of the ,agfa ,formul ,book4 ,it contains complete formul for all makes of paper and other valuable information4 ,,berlin ,,aniline ,,works #bae ,,water ,,street ,,new ,,york #ae4jj ,illustration ,from a ,small ,negative ,you ,can ,print a ,picture ,any ,size ,the ,radion ,enlarging ,printer is a device which1 used in connection with your camera1 produces prints from either film or glass negatives in any dimensions you wish4 ,the printing is almost as quick as contact printing1 and the size of the prints can be varied instantly4 ,,the ,,radion ,,enlarging ,,printer enables you to get all the results of a big camera with a small and inexpensive equipment4 ,it comes to you complete and ready to operate at any time of day or night4 ,it is equipped with new1 specially constructed ,mazda lamps ready to attach to any electric light socket4 ,the ,radion ,enlarging ,printer works without the use of condensers1 which thereby reduces the cost of the machine and secures a better detail on the print4 ,,price #ae4jj ,most dealers in photographic supplies can sell you a ,radion ,enlarging ,printer4 ,if yours cannot1 write direct to us4 ,write anyway for descriptive circulars that will be of great interest to every camera user4 ,h4 ,c4 ,,white ,,co4 ,lens ,grinders and ,makers of ,optical ,instruments for over ,forty ,years #ejc ,,river ,,st41 ,,north ,,bennington1 ,,vermont ,branches3 #de ,w4 #cdth ,st41 ,new ,york ,city ,san ,francisco ,london ,the ,first ,essential in ,enlarging is the ,curry ,utility ,enlarging and ,copying ,board and ,springs ,illustration ,it is #bj #cj inches1 made of well-seasoned wood1 nicely finished4 ,will hold without injury any size copy of any thickness4 ,utility ,springs are made of the best nickeled steel4 ,price1 including #bd ,springs1 #c4ej4 99 99 99 99 99 ,,the ,,curry ,,stereon ,anastigmat ,lens ,series ,a--,f #d4e ,series ,b--,f #f4c ,illustration ,the finest lens at any price for portraits1 views or enlarging4 ,send for ,price ,list and ,photo ,developments4 99 99 99 99 99 ,,frank ,j4 ,,curry ,importer1 ,manufacturer and ,dealer in ,photo ,goods of ,every ,description4 #hab ,chestnut ,street ,philadelphia1 ,pa4 ,for ,enlarging ,bausch ,lomb-,zeiss ,tessar ,i,ib-,f3#f4c because of its excellent optical corrections4 ,the ,tessar has a flat field allowing exposures at full aperture4 ,no danger from vibration because of long exposure4 ,saves exposure time on dense negatives4 ,for ,sale by ,dealers4 ,send for ,booklet #gj ,h1 ,useful ,tables for the ,photographer1 free on request4 ,contains tables on enlarging4 ,our name1 backed by over half a century of experience1 is on all our products--lenses1 microscopes1 field glasses1 projection apparatus1 engineering and other scientific instruments4 ,illustration ,bausch ,lomb ,optical ,co4 ,,new ,,york ,,washington ,,chicago ,,san ,,francisco ,,london ,,rochester1 ,n4,y4 ,,frankfort ,you see the picture before you on the ground glass1 right up to the moment of exposure and are sure of success if you use ,,reflex ,,cameras ,,for ,,your ,,camera ,,work ,,out-,,of-,,doors ,,and ,,at ,,home ,illustration ,,reflex ,,cameras ,,excel all other similar types in curtain velocity1 ease and speed of operation1 simplicity of construction1 freedom from outside mechanism1 perfect workmanship4 ,,regular #de and #eg ,,long-,,focus #de and #eg ,,junior ,,reflex #c-a_/dd-a_/d 7fixed focus7 ,price #ab1 with either one ,holder or ,adapter4 ,ask any independent dealer or write for catalogue and sample print to ,,reflex ,,camera ,,co4 ,newark1 ,n4 ,j4 ,,goerz ,,cameras ,,are ,,unique ,,in ,,the ,,hand ,,camera ,,line ,,our ,,new ,,vest-,,pocket ,,tenax is the finest pocket camera ever made4 ,it measures1 closed1 #c_/db-c_/dc-a_/b inches4 ,equipped with ,compound ,shutter1 all speeds up to #a-bej second4 ,we furnish with it a purse case containing six nickel holders for plates #a-c_/db-e_/af inches4 ,our fine enlarging apparatus1 made especially for use with this camera1 will afford good enlargements of various sizes up to #e #g inches4 ,our ,ango1 ,manufoc ,tenax and ,folding ,reflex are all splendid cameras for the professional photographer and ambitious amateur4 ,they show the same high qualities of workmanship which distinguish ,,goerz ,,lenses ,get our new illustrated catalog from your dealer or direct from ,c4 ,p4 ,,goerz ,,american ,,optical ,,co4 ,,office ,,and ,,factory3 #cag ,,east #cd,,th ,,street1 ,,new ,,york ,dealers' ,distributing ,agencies3 ,for ,middle ,west1 ,burke ,james1 ,chicago4 ,pacific ,coast1 ,hirsch ,kaiser1 ,san ,francisco4 ,illustration ,,how ,,to ,,make ,,your ,,camera ,,pay ,here are books you'll surely want to read6 ,for they show how you can increase your ability to make money with your camera4 ,they tell how to make prints for book1 magazine and newspaper publishers1 and show how you can make money during spare time4 ,the ,,library of ,,amateur ,,photography contains the boiled-down experience of years4 ,collier's1 ,leslie's and dozens of publications are always glad to consider any interesting photographs4 ,they pay from three to five dollars apiece4 ,a score of other profitable branches are covered4 ,here are the money-making facts you have wanted4 ,these books are just from the press4 ,now is the time for you to get full information4 ,we have interesting literature to mail upon receipt of your postal4 ,write now for our special offer to ,,live ,,amateurs4 ,,american ,,photo ,,textbook ,,co4 #fjh ,adams ,avenue ,,scranton1 ,,pa4 ,enlarging ,simplified ,the all by daylight way of making enlargements is with the ,brownie ,enlarging ,camera ,no focusing--no dark-room--no experience necessary when ,velox is used4 ,just the few simple directions for finishing the prints4 ,the enlargement retains all the quality of the negative4 ,the results are certain4 ,illustration ,,the ,,price ,no4 #b ,brownie ,enlarging ,camera1 for #e #g ,enlargements from #b-a_/d #c-a_/d negatives1 #b4jj ,no4 #c1 ditto1 for #f-a_/b #h-a_/b ,enlargements from #c-a_/d #d-a_/d negatives1 #c4jj ,no4 #d1 ditto1 for #h #aj ,enlargements from #d #e negatives 7will also take #c-a_/d #e-a_/b negatives71 #d4jj ,,eastman ,,kodak ,,company1 ,,rochester1 ,n4 ,y4 ,all ,dealers4 ,illustration ,prints by ,gaslight ,,velox increases the number of negatives that are worth printing from4 ,the results from contrasty negatives are softened by the use of ,special ,,velox--improved brilliancy is secured from flat negatives by using ,regular ,,velox4 ,,ask ,,for ,,the ,,velox ,,book4 ,,nepera ,,division1 ,,eastman ,,kodak ,,company1 ,,rochester4 ,n4 ,y4 ,all ,dealers4