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diff --git a/24637.txt b/24637.txt new file mode 100644 index 0000000..392e0bc --- /dev/null +++ b/24637.txt @@ -0,0 +1,2448 @@ +Project Gutenberg's Bromide Printing and Enlarging, by John A. Tennant + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Bromide Printing and Enlarging + A Practical Guide to the Making of Bromide Prints by Contact + and Bromide Enlarging by Daylight and Artificial Light, + With the Toning of Bromide Prints and Enlargements + +Author: John A. Tennant + +Release Date: February 18, 2008 [EBook #24637] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK BROMIDE PRINTING AND ENLARGING *** + + + + +Produced by Barbara Tozier, Bill Tozier and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + + +BROMIDE PRINTING AND ENLARGING + +A PRACTICAL GUIDE TO THE MAKING OF BROMIDE PRINTS BY CONTACT AND BROMIDE +ENLARGING BY DAYLIGHT AND ARTIFICIAL LIGHT, WITH THE TONING OF BROMIDE +PRINTS AND ENLARGEMENTS + + +TENNANT AND WARD + +NEW YORK + + +Copyright 1912 by + +TENNANT AND WARD, 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 PAPER; PAPER NEGATIVES + + +Chapter IV + +ENLARGING BY DAYLIGHT METHODS + + +Chapter V + +ENLARGING BY ARTIFICIAL LIGHT + + +Chapter VI + +DODGING, VIGNETTING, 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 paper? It is simply paper coated with gelatino-bromide of +silver emulsion, similar to that which, when coated on glass or other +transparent support, forms the familiar dry-plate or film used in +negative-making. The emulsion used in making bromide paper, however, is +less rapid (less sensitive) than that used in the manufacture of plates or +films of ordinary rapidity; hence bromide paper may be manipulated with +more abundant light than would be safe with plates. It is used for making +prints by contact with a negative in the ordinary printing frame, and as +the simplest means for obtaining enlarged prints from small negatives. +Sometimes bromide paper is spoken of as a development paper, because the +picture-image does not print out during exposure, but requires to be +developed, as in negative-making. The preparation of the paper is beyond +the skill and equipment of the average photographer, but it may be readily +obtained from dealers in photographic supplies. + +What are the practical advantages of bromide paper? In the first place, it +renders the photographer independent of daylight and weather as far as +making prints is concerned. It has excellent "keeping" qualities, _i.e._, +it does not spoil or deteriorate as readily as other printing papers, even +when stored without special care or precaution. Its manipulation is +extremely simple, and closely resembles the development of a negative. It +does not require a special sort of negative, but is adapted to give good +prints from negatives widely different in quality. It is obtainable in any +desired size, and with a great variety of surfaces, from extreme gloss to +that of rough drawing paper. It offers great latitude in exposure and +development, and yields, even in the hands of the novice, a greater +percentage of good prints than any other printing paper in the market. It +offers a range of tone from deepest black to the most delicate of +platinotype grays, which may be modified to give a fair variety of color +effects where this is desirable. It affords a simple means of making +enlargements without the necessity of an enlarged negative. It gives us a +ready means of producing many prints in a very short time, or, if desired, +we may make a proof or enlargement from the negative fresh from the +washing tray. And, finally, if we do our work faithfully and well, it will +give us permanent prints. + +The bromide papers available in this country at present are confined to +those of the Eastman Kodak Company, the Defender Photo Supply Company and +J. L. Lewis, the last handling English papers only. Better papers could +not be desired. Broadly speaking, all bromide papers are made in a few +well-defined varieties; in considering the manipulation of the papers made +by a single firm, therefore, we practically cover all the papers in the +market. As a matter of convenience, then, we will glance over the +different varieties of bromide paper available, as represented by the +Eastman papers, with the understanding that what is said of any one +variety is generally applicable to papers of the same sort put out by +other manufacturers. + +First we have the _Standard_ or ordinary bromide paper made for general +use. This comes in five different weights: _A_, a thin paper with smooth +surface, useful where detail is desirable; _B_, a heavier paper with +smooth surface, for large prints or for illustration purposes; and _C_, a +still heavier paper with a rough surface for broad effects and prints of +large size. _BB_, heavy smooth double weight; _CC_, heavy, rough, double +weight. Each of these varieties may be had in two grades, according to the +negative in hand or the effect desired in the print, viz.: _hard_, for use +with soft negatives where we desire to get vigor or contrast in the print, +and _soft_, for use with hard negatives where softness of effect is +desired in the print. For general use the _soft_ grade is preferable, +although it is advisable to have a supply of the _hard_ paper at hand as +useful in certain classes of work. The tones obtainable on the _Standard_ +paper range to pure black, and are acceptable for ordinary purposes. For +pictorial work or special effects other papers are preferable. + +_Platino-Bromide_ paper gives delicate platinotype tones, and where +negative, paper and manipulation are in harmony, the prints obtained on +this paper will be indistinguishable from good platinotypes in quality and +attractiveness. This paper comes in two weights, _Platino A_, a thin paper +suitable for small prints, and having a smooth surface useful for +detail-giving; and _Platino B_, a heavy paper with rough surface, +peculiarly suited for large contact prints or enlargements. Both varieties +are obtainable in _hard_ or _soft_ grades, characterized as above. _Matte +Enamel_, medium weight; _Enameled_, medium weight; _Velvet_, medium +weight. + +_Royal Bromide_ is a capital paper in its proper place, _i.e._, for prints +not smaller than 8 x 10 inches, and then only when breadth of effect is +desired in the picture. It is a very heavy cream-colored paper, rough in +texture, and giving black tones by development, but designed to give sepia +or brown tones on a tinted ground by subsequent toning with a bath of hypo +and alum. This paper, also, may be had in two grades for _hard_ or _soft_ +effects; it is further adapted for being printed on through silk or +bolting cloth, this modification adding to the effect of breadth +ordinarily given by the paper itself. I have seen prints on this paper +which were altogether pleasing, but subject and negative should be +carefully considered in its use. Rough Buff papers are very similar in +character. _Monox_ Bromide, made by the Defender Photo Supply Company, is +obtainable in six surfaces; No. 3, _Monox Rough_; No. 4, _Monox Gloss_; +No. 5, _Monox Matte_; No. 6, _Monox Lustre_; No. 7, _Monox Buff_, heavy +rough. + +The Barnet bromide papers, comprising ten different varieties, differing +in weight and surface texture but very similar to the kinds already +described, are imported by J. L. Lewis, New York. + +As a suggestion to the reader desiring to have at hand a stock of bromide +papers, I would advise _Platino A_, or a similar _soft_ paper for prints +under 5 x 7 inches; _Matte-Enamel_ for _soft_ effects, or a similar paper, +as an alternative; _Platino C_ and _Royal Bromide_ for _soft_ effects, or +similar papers, for prints 8 x 10 inches or larger, and for enlargements. +To these might be added a package of _Standard B_, and another of one of +the above varieties for _hard_ effects, to complete a supply for general +purposes. The beginner, however, will do well to avoid the indiscriminate +use of several varieties of paper, although he is advised to get +information of all the different varieties in the market. It is better to +select that variety which is best suited to the general character of one's +negatives and work, and to master that before changing to another. It is +true that an expert can get more good prints on bromide paper, from a +given number of bad negatives, than another expert can get with the same +negatives and any other printing paper; but it is also true that for the +best results on bromide paper the variety of paper used should be suitable +for the negative. It will be found, however, that this word "suitable" +covers, in bromide printing, a much wider range than is offered by many +printing papers. In fact there are only two sorts of negatives which will +not yield desirable prints on bromide paper: first, an exceedingly weak, +thin negative lacking in contrast and altogether flat; and second, a very +dense negative in which the contrasts are hopelessly emphatic. Even in +such cases, however, it may be possible to modify the negatives and so get +presentable prints. + +The ideal negative for contact printing on bromide paper is one without +excessive contrasts on the one hand, and without excessive flatness on the +other. A moderately strong negative, such as will require from three to +five minutes in the sunlight with a print out paper, fairly describes it. +In other words, the negative should be fully exposed and so developed that +there is a fair amount of density in the shadows. I have never been able, +with bromide paper, to get the detail in the shadows of under-exposed +negatives, such as we see in a good print made on glossy printout paper. +For this reason the use of bromide papers with under-exposed negatives is +not advisable. But there are a great many negatives which, while +unsuitable as they come from the drying rack, can be easily adapted to the +process by slight modifications. A very dense negative, for instance, may +be reduced either with the ferricyanide of potash or persulphate of +ammonia reducer; and a thin negative with proper graduations can +frequently be intensified to advantage in the print. While, as has been +said, there is great latitude in the matter of the negative, this latitude +should only be availed of when necessary. Local reduction or +intensification of the negative is seldom necessary, as better results can +usually be obtained with bromide paper by dodging in the printing. + + + + +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 negatives. 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 master. +These may necessitate a little thinking, but a practical grasp of them +will make our after-work much easier, and ensure that fairly good prints +from poor negatives will be the rule instead of the exception. + +In the first place we have often read that a strong light overcomes +contrasts, while a weak light increases them. Yet how many of us realize +when we come to make prints by any process exactly what this means; in +other words, how many of us apply the rule in everyday practice? It is +very easy to see what is meant by the rule if we will take an ordinary +negative, such as a landscape with clear sky, and hold it first six inches +from a gas-flame and then six feet. It will be found in the first case +that the sky portion is translucent while the clear glass will, of course, +be clear; in the second the sky will be opaque and the clear glass still +clear. The contrasts have been rendered greater by removing the negative +further from the light-source. As this is true in the extreme case given, +so it is true in a smaller degree where the distances are only slightly +varied, as well as where we deal with the graded portions of the negative +instead of with only clear glass and the densest portions. It is this fact +that we utilize in bromide printing; 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 negatives. 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 +paper, ground glass, or opal, as is occasionally done with other +processes. + +The necessity, however, for occasionally changing the strength of our +light in this manner may seem to introduce an element of uncertainty into +the problem of exposure; but there is another rule which brings it back +again to simplicity itself, and enables us to quickly calculate equivalent +exposures at varying distances from the light-source. This rule is: "The +intensity of illumination varies inversely as the square of the distance +from the source of light." For instance if a given negative requires five +seconds exposure at one foot from the light, it will have an equivalent +exposure if exposed for twenty seconds at two feet, the square of one +being one, and of two being four. + +It remains then only to apply these two rules to our actual work with +bromide paper. The shadows in a certain negative will receive full +exposure, say, in eight seconds at one foot from the light; 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 time. Hence a stronger +light must be used, or the action of the same light continued for a longer +time; but the latter will not do since the effect would be to over-expose +the shadows. Hence, knowing that a strong light overcomes contrasts, we +move the negative to the distance of six inches, where the rule tells us +the equivalent exposure will be one-fourth that at twelve inches, in this +case two seconds. Here the shadows get no more light, but it is possible +that the high lights of the negative will be penetrated by reason of the +additional force of the light. + +On the other hand we have a thin, flat negative requiring for the shadows +two seconds exposure at one foot from the light. Knowing that a weak light +increases contrasts we move the negative three feet from the light, and +instead of two, give eighteen seconds exposure, the rule telling us that +this is equivalent. Thus we are enabled to regulate the strength of our +light to suit the character of our negative. But a standard distance of +one foot will not suit with all kinds of lights or with all sizes of +negatives. If, for instance, our light is a Welsbach burner, giving an +intense and comparatively white light, we will find that a normal negative +will print too flat if exposed at one foot. In such a case two or even +three feet would be a better standard. Experience with our light will, +however, furnish the best standard, always taking a standard negative for +the tests. + +[Illustration: Fig. 1] + +The size of the negative also has its influence on the unit of exposure. +For instance, we may have a half-inch oil-burner, in which case we would +probably have to expose a standard negative at four inches in order to get +the proper contrasts. But this is out of the question with a negative of 5 +x 7 or over, as a reference to the diagram, Fig. 1, will clearly show. +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 it, the rule as to +intensities telling us that the light at the edges will be only 16/25 of +that at the centre. This would result in a marked falling off of light at +the corners, and would necessitate a constant motion of the printing frame +throughout exposure, which is not wholly satisfactory. The remedy would be +to use a stronger light at a greater distance. But another reference to +Fig. 1 will show that if a 5 x 7 negative be held at seven inches from the +light the difference will be only as 49 is to 56, which can in practice be +disregarded, though it would be better to have it even less. Hence we see +that it is never safe to have our unit less than the base-line of our +plate, and it is better to have it even greater, as we will frequently be +obliged to halve the distance to overcome contrasts. It follows from this +that the larger our negatives the stronger must be our light. + +Now all of these considerations may make very dry reading, but the reader +who has followed them closely will see how vital they are to successful +work. It should not be thought, however, that every exposure on bromide +paper must involve an arithmetical calculation. On the contrary, once the +proper distance from the light for the normal negative has been +ascertained, it will be found that nine negatives out of ten will require +no change in the distance from the source of light. This, of course, +presuming that we classify our negatives and enlarge from those of the +same quality at the same time. + +One great objection to the use of bromide paper is that it must be handled +in a dark-room. But this objection is not as serious as it may seem. An +ordinary living room at night furnishes a delightful place in which to +make prints, if we handle our solutions with reasonable care. The ruby +glass can be removed from the dark-room lamp, and the orange glass used +alone. But in this case, as indeed with the ruby light, care must be taken +to guard against too much light. Development should be conducted at a +distance of several feet from the light, and when almost completed, the +tray can be brought close under the light to enable the worker to stop it +at exactly the right moment. Ordinary bromide paper is about as sensitive +as the process or slow dry plate or the average lantern-slide plate, and +requires as much care as either, but not nearly so much as the most rapid +dry plates. If fogging is noticed, of course additional precautions should +be taken at once. + + + + +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 contact, unless it be some arrangement +for determining readily the distance of the negative from the source of +light. For this purpose and with an oil-lamp, use a board a foot wide and +about three feet long placed on the developing bench against the base of +the dark-room lamp. It should be marked with black lines six inches apart. +See Fig. 2. + +[Illustration: Fig. 2] + +Greater uniformity in lighting will be gained if a piece of white +cardboard be placed immediately behind the flame. Some lamps have +reflectors, in which case the card is unnecessary, provided that they +reflect the light uniformly; otherwise such reflectors are worse than +useless. + +Having arranged the needful apparatus to our satisfaction, the last +preparatory step before manipulation is the making up of a developer. +Almost any of the modern developers (pyro excepted) will give good results +with bromide paper. In every package of paper will be found the developers +advised by the manufacturer of the paper used. Invariably there is among +these a formula for ferrous oxalate developer. This is probably the best +of all developers for pure black tones, but I cannot advise the novice to +take it up in the early stages of his work with bromide paper. + +When this developer is used an acid clearing bath is necessary, and this +invites complications which may be disastrous to the prints. When +experience has been gained, and a large number of prints are to be made at +one time, it will be found advantageous as working longer with greater +efficiency and more uniformity than some of the other developers. It is +troublesome to prepare and does not keep well, apart from which there is +the disadvantage that it does not permit of control in development in as +large a measure as other developers. + +A reliable metol and hydroquinone formula is as follows: Thoroughly +dissolve metol, 1/4 ounce; hydroquinone, 1/4 ounce; in water, 80 ounces; +add sulphite of soda (cryst.), 4 ounces; and carbonate of soda (cryst.), +2-1/2 ounces. Bottled in 4-ounce vials and well corked, this developer +retains its working power indefinitely. For normal exposures I take 2 +ounces of the above and add to it 2 ounces of water. This will suffice for +the development of three 8 x 10 sheets of paper, or their equivalent in +smaller sheets. It is not wise to attempt to make it do more, as greenish +tones will result. For the same reason, contrary to common opinion, I do +not advise the addition of potassium bromide to the developer. It does not +improve the developer, and may do harm. + +An excellent developer which must be used freshly mixed, and may be made +up in a moment, is as follows: Take 1-1/2 ounces of a 25 per cent solution +of sodium sulphite; dry amidol, 30 grains; 5 to 10 drops of a 10 per cent +solution of potassium bromide, and dilute with 4-1/2 ounces of water. A +supply of new developer should be added as this is seen to become +exhausted. + +Other developing formulae could be given, but these two will be found to +fill all requirements if properly compounded and intelligently used. + +The greatest difficulty in developing bromide paper is to get rich black +tones when desired, but this can be completely overcome by using entirely +fresh developer from time to time, and never over-working the developer, +whatever it may be. As compared with the paper, developer is cheap, and it +is poor economy to save on the latter. + +Except in rare instances the developer is better without any modifications +whatever. In case of over-exposure, either general or partial, the +developer after having been diluted as stated should be again diluted with +its bulk of water. This gives blacker tones and more depth and life to the +shadows. 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 developer. + +The temperature of the developer is of the greatest importance. In summer +the aim should be to keep it approximately at 65 degrees Fahr., in winter, +70 degrees, but it should never be allowed to go over the latter. This can +readily be accomplished by placing the graduate in a receptacle containing +ice-water in summer or hot water in winter. + +The paper is first opened at a safe distance from the dark-room light, and +it is well at first to cut up one sheet into several slips to use as +test-strips. If any difficulty is found in determining which is the +sensitive side, 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 curl. The +concave is the sensitive side. 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 shadows. With an oil-lamp having a +1-inch burner, expose the test-strip behind the negative in the printing +frame at one foot for ten seconds. Close the lamp and flood the exposed +strip with the developer. The image should appear in a few seconds, and if +properly exposed development will be completed in from one to two minutes, +usually one. Rinse for a moment, and place the strip in a fixing bath made +up by dissolving 3 ounces of hypo in 16 ounces of water. After a few +moments examine the strip in full light, and see whether the contrasts are +right. If so, expose a full sheet of paper, this time rinsing the exposed +sheet before development to avoid the formation of air-bubbles. If the +contrasts are too great try a strip at six inches from the light and two +and a half seconds exposure. If still too great, use a stronger light or +try a longer exposure and use a very dilute developer. If still too great +the negative is hopeless and should be reduced unless dodging will help +it, as set out further on. + +It will be noticed that this method calls for a one-minute development. +This is desirable for several reasons: first, because it gives a unit and +assists us in determining the correct exposure of other negatives, and +second, because it is a comparatively short development, and yet gives +sufficient time after the image has acquired the proper depth to pour off +the developer and flush with water, thus stopping development. It also +leaves sufficient margin in the event of over- or under-exposure. With one +minute as the unit, over-exposure will result in a fully developed image +in, say, thirty seconds. This print we could save; but if our unit were +thirty seconds it would be extremely difficult to save a print which had +completed development in fifteen seconds. The chances are that the +development would go on to a ruinous extent before we could pour off the +developer and flood the print, or that it would go on even after the water +was poured on it. Moreover, in case of under-exposure, two minutes would +not be so very tiresome, but four minutes would, besides which we would +risk straining the print by such prolonged development. While I am not +prepared to assert it as a rule, yet it has been my experience that the +time of development varies almost inversely with the length of exposure; +so that if the test-strip concludes development in half a minute with ten +seconds exposure, I give the next five seconds exposure in the expectation +that it will take a minute to develop. This assists greatly in lessening +the number of test-strips required to ascertain the correct exposure of a +given negative. + +Should we wish to see a proof before the negative is dry, it is taken from +the fixing bath and well rinsed, though not necessarily thoroughly washed. +It is then placed face up in a tray of water, on which we place face down +a sheet of bromide paper. The two are removed together and squeezed +lightly into contact to remove air bubbles. The back of the negative is +then wiped to remove superfluous water, and an exposure of several times +the normal given, preferably the normal exposure at half the standard +distance from the light. The paper is then removed and developed as usual. +In this way it is possible to show a print in fifteen or twenty minutes +after the exposure of the plate was made. + +The purpose of the rinsing before development is to avoid the possibility +of air-bells. The paper should be rinsed in cold water, as warmish water +will cause air-bells instead of preventing them. This rinsing can be +dispensed with if thought desirable. The rinsing after development is for +the purpose of stopping development immediately, and also in order that +the prints may not go into the fixing bath full of developer, as staining +would be likely to result in such case. With the iron oxalate developer an +acid rinsing bath is necessary, but it is not necessary with any of the +other developers. + +The fixing is important, as upon this depends in a large measure the +permanence of the prints. The bath should be freshly made up, 3 ounces of +hyposulphite of soda to 16 ounces of water. Prints are placed in this bath +face down, and one under, instead of on top of another. The tray should be +occasionally rocked. With a fresh bath prints will fix in ten minutes, but +where many prints are made at one time it will be well to use a second +fixing bath. The emulsion of an unfixed print will appear a yellowish +tinge in the unfixed portions when examined by transmitted light; but this +is not an easy or certain test. It is better to make absolutely certain of +thorough fixing by continued immersion, occasional rocking and, where many +prints are made, a second bath. The fixing bath should not be allowed to +get too warm in hot weather. Blistering, staining and frilling will result +in such a case, and I have known a print which was left in a warm fixing +bath for an hour or more to be reduced beyond redemption. With freshly +made hypo baths at a suitable temperature there is absolutely no danger of +the paper frilling or blistering. + +The final washing must be thorough, as the hypo is difficult to eliminate +from both the emulsion and the paper. Care must be taken to see that the +prints are well separated while washing. This ensures uniform washing. + +It frequently happens that a negative may require more or less dodging in +printing. With bromide paper this is particularly easy. We will take the +simple case of a negative with dense sky which will not print out in the +ordinary way. 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 back. If necessary, cut down the light in +order to prolong the exposure, or expose at a greater distance from the +light. One or more test-strips will be required for this purpose in order +to ascertain the relative times of exposure. A modification of this method +is when a small portion of the negative only needs extra printing--a face +or hand for instance. Here we take a piece of paper a little larger than +the negative and cut a small hole in it, moving it in front of the light +so as to throw the latter only upon the portions needing the extra +printing. Still another modification is where a portion only needs holding +back. Here we use a small piece of paper or cardboard stuck on a knitting +needle, moving the latter so that it will not intercept the light too long +at one place. + +In all these and similar instances which will occur to the reader, the +dodging should be done during the first part of the exposure. The +subsequent exposure seems to obliterate traces of such dodging better than +when it is done at the end of the exposure, just as in cloud-printing +better results are achieved by printing the sky first and the foreground +afterward. + +It is quite possible to make bromide negatives in the camera. They have +their advantages in classes of work not requiring the finest definition, +are much lighter, cheaper, more easily stored and less liable to breakage +or other mishaps. They are best made on a thin, smooth paper, a _soft_ +paper being better than the _hard_. They are placed in the plate-holder by +means of the ordinary cut film holder. The exposure required is +ascertained by a trial or two, but roughly speaking is about one-twentieth +that of a rapid plate. After development in the usual way--it being +carried only a little further than usual--and after fixing, washing and +drying, the paper negative can be spotted or retouched, after which it is +waxed. + + + + +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 necessary, as the principles +governing exposure apply here as in contact printing, errors being even +more serious, owing to the greater waste of material. + +For the illuminant used in enlarging, we may employ either daylight or +artificial light. The former is cheap, but variable; the first cost of the +latter is quite a little sum, but the light is uniform. A daylight +enlarging apparatus can be made for a dollar or two, and hence is within +the reach of all; and if the process be given up, the loss is not serious. + +If the cost is of little or no moment, very serviceable enlarging cameras +can be bought for about twenty-five dollars. Such a camera is adapted for +reducing as well as enlarging, and so will be found useful for lantern +slide making, copying, etc. As a matter of fact, few things are as useful +to the amateur as a good enlarging outfit. + +We will first consider enlarging by daylight with home-made apparatus. For +this purpose a room with at least one window will be needed. It should +preferably be convenient to the dark-room. If the window of this room +commands a view unobstructed by buildings, trees or the like, so much the +better. I personally prefer a south light. With this one can get soft +enlargements from the most contrasty negatives, while by shielding the +negatives from the direct rays of the sun we can work from negatives which +are quite flat and lacking in contrasts. + +[Illustration: Fig. 3] + +But whatever the room chosen, all windows but the one at which we are to +work must be blocked up. This can be done by heavy dark curtains, or by +specially constructed frames covered with light-tight material and made to +fit closely in the windows. If there are any transoms these should +likewise be covered. White light entering under the doors can be shut out +by placing a rug along the bottom of the door. Care must be taken that the +window-frames fit closely, 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 +moments. + +[Illustration: Fig. 4] + +Assuming that the room chosen can be made practically light-tight, we will +need some arrangement to hold the negative. The details of a box for this +purpose can best be shown by a diagram (Fig. 3). ABCD is a strong and +neatly made box open at both ends, and about two inches larger each way +than the largest negative from which enlargements are to be made. E +represents a section of a board which forms part of a window frame, a +general view of which is given in Fig. 4. Reverting to Fig. 3, F is an +opening cut in the side of the negative box two inches or a little less +from the back of the box, AD, and wide enough to admit the free passage of +a negative in a kit or other holder. On the inside of the box are tacked +strips, GGGG, to serve as a guide to the kit when placing it in the box. +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 apparatus, besides +enabling us to put the negative in or withdraw it from either side. A +convenient modification of the strips, G, is found by placing the front +ones a short distance further forward, to wit, toward BC, as they are +shown in the cut (Fig. 3), and tacking to them a piece of watch spring, H, +this then serving both as a guide and as a means of pressing the kit or +negative holder against the other strips, GG (Fig. 5). + +[Illustration: Fig. 5] + +J is a sheet of ground-glass, which is tacked over the opening when the +box is firmly set in the board, E. It is well to have this ground-glass +fixed in place so that it can be readily removed if desired. + +[Illustration: Fig. 6] + +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 +Fig. 6. Here AB represents the negative in place, CA, DB and EG represent +rays of light entering the box. It will be seen that the rays CA and DB +strike the ground-glass at an angle, but nevertheless at an angle which +results in their passing through it in a considerable degree. They strike +the negative AB, but if the negative were the full size of the box, to wit +FG, it will be seen that while the section AB would be fully lighted, the +sections AF and BG would receive no oblique rays at all, and hence the +negative would not be even approximately uniformly lighted. This point is +too often overlooked in the construction of apparatus of this character, +but is necessary in all cases of daylight enlarging and especially when +direct sunlight is used. Now with the negative box in place, some +arrangement must be made for holding the lens, which can be the lens used +for making the negative. This for enlargements of a fixed size from +negatives of a given size can be accomplished by simply extending the +section BGGC Fig. 3, to a proper distance and placing the lens in the end +of it; but this permits too little opportunity for adjustments and is not +advisable. A double box, one sliding within the other, would be better, +but still not quite satisfactory. It is far better to adapt one's camera +to the apparatus, and this can always be done; it being very simple with a +reversible back camera, which can be backed right up to the opening, and +more difficult but always possible with others. Fig. 7 shows the entire +apparatus in place, and the manner in which it is used. AB is the window +board, C is the negative box, D is the camera adjusted to the latter, E is +the enlarging screen on an easel to hold the bromide paper, and F is the +reflector. The screen on the easel can be made either to rest on the floor +or on a table. It can be made to run on a track or otherwise, and it can +also be made so as to admit of either vertical or lateral adjustment or +both, or it can be nothing more than an ordinary box set on a table. But +however constructed it must be considerably larger than the largest sheet +of bromide paper which is to be used, thus allowing for nearly all +necessary adjustments of the paper. It is preferably covered with white +paper or fine blotter to aid in focusing. The reflector F is considerably +larger than the negative-box, and adjusted at an angle which will reflect +the light from the sky or sun evenly upon the ground glass. It is best +covered with good white blotting paper. G is a hood which I have found +useful in sunlight enlarging, especially in summer when the sun is almost +overhead. It is placed on the outside of the window-frame, some distance +above the ground-glass, and shields the latter from the direct rays of the +sun, which would otherwise cause uneven illumination owing to their too +great obliquity. The direct sun on the white reflector will give a light +of high intensity. In winter, however, when the sun is low, it will fall +directly on the ground-glass, and this, if the negative box be constructed +as advised, is not objectionable, but on the contrary an advantage. In +Fig. 4 the opening, FGHI, represents a sheet of ruby glass, and can be +screened while focusing if found to interfere with the worker's +convenience in that operation. + +[Illustration: Fig. 7] + +The apparatus as sketched will suffice for all ordinary work. +Modifications of it will depend upon the ingenuity of the man who attempts +to design or construct one. It should be noted that the distance of the +ground-glass from the negative has its influence in the strength of the +light, and it is better to have this distance not over two inches. If less +than one inch, however, the diffusion of light is not so good. When the +light is weak the ground-glass can be removed entirely; the negative will +thus be viewed directly against the white reflector. Very strong negatives +giving undue contrasts may also be dealt with in this way. Or, if the +light is too strong for flat negatives, the reflector can be removed +entirely, or to the same end a sheet of yellow glass can be substituted +for the ground-glass, thus increasing contrasts. In fact, 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 light, or of yellow +glass to increase contrast. This opening should be at the point K, Fig. 3. + +I have referred to a kit as being the proper arrangement for holding the +negative. This, after much tribulation in working with home-made +contrivances, I have found to be the best arrangement. They come a size or +two larger than the negative with which they are to be used, and can +easily be cut down to the proper dimensions. With it, also, other kits to +hold smaller negatives can readily be used. It is also simple with them to +fasten the negatives in place. If they extend beyond the box on either +side so much the better; greater lateral adjustment can then be made. The +negative box, Fig. 3, is best painted dead black inside in the section +GBCG, and white in the section AGGD. The reasons for this will be obvious +at a glance. + +In enlarging from films it is well to place them between two sheets of +glass of proper size, and fasten the whole in the kit or negative-holder. +For this purpose use thin glass without flaws or scratches. If the films +are smaller than the opening in the kit, it is well to paste a black mat +on one of the glasses, when, after proper adjustment, the film will remain +in place between the two glasses with very little pressure. + +Enlarged negatives are very easily made with the apparatus described. A +contact positive can be made, preferably on carbon transparency tissue, +and from this the enlargement made, or an enlarged positive made first, +and from this a contact negative. The latter plan is preferable, since it +admits of retouching on both positive and negative. Slow plates should be +used throughout. For those who do not care to go to the expense of +experimenting with large plates, I would suggest that good contact +positives be first made and from these negatives on bromide paper, +_Standard A_, _soft_. These negatives are treated as already described. +The best positive for this purpose is a thin one with full gradations of +tone from clear high light to deep shadow, without veil or fog, but free +from any suspicion of flatness. + + + + +CHAPTER V + +ENLARGING BY ARTIFICIAL LIGHT + + +The apparatus for enlarging with artificial light is, as has been stated, +more expensive than that for use with daylight. The negative box and +screen, however, remain as given. But we need in addition two extra +pieces, a light-box and a pair of condensing lenses. + +The form of light-box presupposes the choice of illuminant, and in this +there is a wide range. 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 negatives. For larger work or stronger negatives a stronger +light will be needed. + +Of these, the first in point of strength is the arc-light, which is too +strong for ordinary negatives to be enlarged not more than fourfold on +ordinary bromide paper. Used with any of the slower papers it will be +found very serviceable and satisfactory. Next comes the lime-light, which +has pretty much the same advantages and disadvantages. After these come +acetylene, a gas giving an intense light of high actinic power. This is +within the reach of nearly all, as a first-class generator costs only +about twelve dollars, and the uses of the gas are manifold. The same +generators and burners can be used with a projecting lantern and will be +found far more satisfactory than oil. Acetylene burners can be had in +various sizes, ranging in power from thirty to several hundred +candle-power. The carbide from which the gas is generated is not expensive +and costs only a few cents each time the machine is loaded. By an +adjustment attached to the generator the gas is kept at a constant +pressure, and hence the light is unusually steady. All in all this light +has many advantages. After it in strength comes the Welsbach burner, +suitable for those having gas in the house. After this comes the ordinary +gas-burner, and then oil. The reader, knowing now what will be required of +his light, can take his choice. + +Perhaps the simplest form of light-box is where the light is placed in one +room and the enlarging done in an adjoining one, the light being admitted +through a suitable opening. This prevents the possibility of stray light +reaching the paper and is productive of no additional heat in a room +presumably already hot enough. + +If this is not feasible a light-box must be constructed. As these vary so +much in material and design, and must be altered with different forms of +light in use, I will merely state the requirements. First of these is that +it must be light-tight, and second, that it must have adequate ventilation +and be fire-proof. Following these in importance, 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 not. + +Having the light-box, the burners must be placed in it properly. Here the +shortest way out of the difficulty is to go to an expert. If electricity +is used go to an electrical supply house; if gas, go to a gas-fitter. As +will be seen later the flame itself must be placed in a certain relation +to other portions of the apparatus, and provision must be made +accordingly. + +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 reduction. The most of these the writer has tried, but he has +never found one of them which could be relied upon to give even reasonable +satisfaction. If the light is apparently evenly diffused it is too weak. +If strong enough it is not evenly diffused. Hence I will recommend nothing +short of a pair of condensing lenses, as these have been proved by +experience to be satisfactory in every respect if properly handled and +cared for. The diameter of these must be slightly greater than the +diagonal of the largest negative from which enlargements are to be made. +These can be bought in pairs, mounted or unmounted, at about the following +prices: + + ---------+-----------------+----------------+------------------ + Diameter | Focus | Pair of Lenses | Per Single Lens + Inches | Inches | Mounted | Unmounted + ---------+-----------------+----------------+------------------ + 4 | 5-1/2 or 6-1/2 | $ 4.00 | $ 1.25 + 4-1/2 | 5-1/2 or 6-1/2 | 6.00 | 1.50 + 5 | 6-1/2 | 7.50 | 1.75 + 6 | 8 | 12.00 | 3.00 + 8 | 12 | 32.00 | 7.50 + 9 | 14 | 40.00 | 10.00 + ---------+-----------------+----------------+------------------ + +The prices asked for condensers vary considerably in different +price-lists. They can often be had at second-hand at a decided saving of +expense. + +If it is desired to save the additional cost of the mounted condensing +lenses, they can be comparatively easily mounted by anyone at all familiar +with tools in the following manner: + +A piece of quarter-inch pine or poplar is cut to a square about an inch +larger than the diameter of the lenses. In the center of this is sawed out +a circular opening the exact size of the lens. In another board of the +same dimensions is cut a circle a quarter of an inch less in diameter. +These boards are placed together with the grain running in opposite +directions, to prevent warping, and the lens kept in place by a wire bent +in a circle and clamped in place so as to hold the lens, or other similar +arrangement. See Fig. 8. The other lens is mounted in the same way. The +two are mounted with their convex sides facing each other and a slight +distance apart. It is better to place between them a thin sheet of finely +ground glass, as this overcomes the bad effects of slight flaws in the +lenses, which are not uncommon. The combination is then boxed up. + +[Illustration: Fig. 8] + +Having now our light-box, condensers, negative box, camera and screen, +they are next arranged in the order shown by Fig. 9. A long table +especially constructed for the purpose makes the best base for this +purpose. + +In putting the apparatus together there are several points to be noticed. +First, the planes of the lenses, negative, projecting lenses and screen +must all be parallel; second, the centers of all these should be in a +single straight line, and third, either the light or the condensers should +be so mounted as to easily slide backward or forward, since every time the +projecting lens is racked backward or forward it necessitates a +corresponding motion of the condensers to or from the light. + +[Illustration: Fig. 9] + +In constructing the apparatus, for use with condensers and artificial +light, 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 apparatus. +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 former, as the cone of light from the condensers has its apex +at the lens, and hence if the negative in such a case is at a distance +from the condensers the corners will receive no light. Reference to Fig. 9 +will show this plainly. For this and other reasons it is always best to +have the condensers of ample size for a given negative. In fact, 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 +it. This will then serve as a standard for all other negatives of the same +general grade, and variations of the light can be made as required for +particular negatives, or where the extent of enlargement is materially +changed for various purposes. + +In using the daylight apparatus, which we will now consider, the negative +is placed in the holder opposite the center of the ground-glass, upside +down and facing into the work room. The room is darkened and lens +uncapped. An image more or less blurred will appear on the screen. If the +enlarged picture is to be only slightly larger than the negative, the lens +must be racked out until its distance from the negative is but little less +than its distance from the screen. To make the enlargement greater we +simply rack back the lens and move the screen further off. 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 size: The +table here inserted covers the ordinary requirements and may be of service +in constructing the apparatus: + + TIMES OF ENLARGEMENT + + Total distances from the negative, in inches. + + -------------+---------------+-----------------+-----------------+----------------- + Times of | 2 | 3 | 4 | 6 + Enlargement | | | | + -------------+-------+-------+--------+--------+--------+--------+--------+-------- + Focus of | To | To | To | To | To | To | To | To + Lens | Easel | Lens | Easel | Lens | Easel | Lens | Easel | Lens + -------------+-------+-------+--------+--------+--------+--------+--------+-------- + 6 inches | 27 | 9 | 32 | 8 | 37-1/2 | 7-1/2 | 49 | 7 + 8 " | 36 | 12 | 42-2/3 | 10-2/3 | 50 | 10 | 65-1/3 | 9-1/3 + 10 " | 45 | 15 | 53-1/3 | 13-1/3 | 62-1/2 | 12-1/2 | 81-2/3 | 11-2/3 + 12 " | 54 | 18 | 64 | 16 | 75 | 15 | 98 | 14 + -------------+-------+-------+--------+--------+--------+--------+--------+-------- + +A table for enlargements of from one to twenty-five times, with lenses +varying in focal length from three to nine inches is here given. + + ENLARGEMENTS + + _From the British Journal of Photography Almanac._ + + +----------+-----------------------------------------------------------------------+ + | Focus of | | + | Lens | Times of Enlargement and Reduction | + +----------+------+--------+--------+--------+--------+---------+--------+---------+ + | Inches | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | + | | inch | inches | inches | inches | inches | inches | inches | inches | + +----------+------+--------+--------+--------+--------+---------+--------+---------+ + | 3 | 6 | 9 | 12 | 15 | 18 | 21 | 24 | 27 | + | | 6 | 4-1/2 | 4 | 3-3/4 | 3-3/5 | 3-1/2 | 3-3/7 | 3-3/8 | + +----------+------+--------+--------+--------+--------+---------+--------+---------+ + | 3-1/2 | 7 | 10-1/2 | 14 | 17-1/2 | 21 | 24-1/2 | 28 | 31-1/2 | + | | 7 | 5-1/4 | 4-2/3 | 4-3/4 | 4-1/5 | 4-1/12 | 4 | 3-9/10 | + +----------+------+--------+--------+--------+--------+---------+--------+---------+ + | 4 | 8 | 12 | 16 | 20 | 24 | 28 | 32 | 36 | + | | 8 | 6 | 5-1/3 | 5 | 4-4/5 | 4-2/3 | 4-4/7 | 4-1/2 | + +----------+------+--------+--------+--------+--------+---------+--------+---------+ + | 4-1/2 | 9 | 13-1/2 | 18 | 22-1/2 | 27 | 31-1/2 | 36 | 40-1/2 | + | | 9 | 6-3/4 | 6 | 5-3/5 | 5-2/5 | 5-1/4 | 5-1/7 | 5-1/16 | + +----------+------+--------+--------+--------+--------+---------+--------+---------+ + | 5 | 10 | 15 | 20 | 25 | 30 | 35 | 40 | 45 | + | | 10 | 7-1/2 | 6-2/3 | 6-1/4 | 6 | 5-5/6 | 5-5/7 | 5-5/8 | + +----------+------+--------+--------+--------+--------+---------+--------+---------+ + | 5-1/2 | 11 | 16-1/2 | 22 | 27-1/2 | 33 | 38-1/2 | 44 | 49-1/2 | + | | 11 | 8-1/4 | 7-1/3 | 6-4/5 | 6-1/2 | 6-5/12 | 6-2/7 | 6-3/10 | + +----------+------+--------+--------+--------+--------+---------+--------+---------+ + | 6 | 12 | 18 | 24 | 30 | 36 | 42 | 48 | 54 | + | | 12 | 9 | 8 | 7-1/2 | 7-1/5 | 7 | 6-6/7 | 6-3/4 | + +----------+------+--------+--------+--------+--------+---------+--------+---------+ + | 7 | 14 | 21 | 28 | 35 | 42 | 49 | 56 | 63 | + | | 14 | 10-1/2 | 9-1/3 | 8-3/4 | 8-2/5 | 8-1/6 | 8 | 7-7/8 | + +----------+------+--------+--------+--------+--------+---------+--------+---------+ + | 8 | 16 | 24 | 32 | 40 | 48 | 56 | 64 | 72 | + | | 16 | 12 | 10-2/3 | 10 | 9-3/5 | 9-1/3 | 9-1/7 | 9 | + +----------+------+--------+--------+--------+--------+---------+--------+---------+ + | 9 | 18 | 27 | 36 | 45 | 54 | 63 | 72 | 81 | + | | 18 | 13-1/2 | 12 | 11-1/4 | 10-4/5 | 10-1/2 | 10-2/7 | 10-1/8 | + +----------+------+--------+--------+--------+--------+---------+--------+---------+ + + The object of this table is to enable any manipulator who is about + to enlarge (or reduce) a copy any given number of times to do so + without troublesome calculation. It is assumed that the photographer + knows exactly what the focus of his lens is, and that he is able to + measure accurately from its optical center. The use of the table + will be seen from the following illustration: A photographer has a + _carte_ to enlarge to four times its size, and the lens he intends + employing is one of 6 inches equivalent focus. He must therefore + look for 4 on the upper horizontal line and for 6 in the first + vertical column, and carry his eye to where these two join, which + will be at 30-7-1/2. The greater of these is the distance the + sensitive plate must be from the center of the lens; and the lesser, + the distance of the picture to be copied. + +In practice it is convenient, after having once found the focus for a +given enlargement from a given negative with the lens in use, to mark on +the base of the apparatus the point to which the lens has been extended. +Then in making future enlargements of the same size, it is only necessary +to set the lens at that point and move the easel backward or forward until +an approximate focus is obtained, when the image will be of the proper +size on the screen. + +As an approximate guide it is sufficient to know that the nearer the lens +is to the negative the greater will be the enlargement, as may be seen in +Fig. 7. If a piece of thin cardboard, or a sheet of paper cut to the exact +size of the enlargement desired, is placed upon the easel-screen, little +difficulty will be experienced in getting an enlarged image of the proper +size and correctly focused. + +It is advisable to focus the enlargement with the largest aperture of the +lens. If the lens, when working at its largest aperture, covers the plate +from which the enlargement is being made, it will give proper definition +over the enlargement. With a lens of the better sort, of course, the +definition will be equally good whether a large or small aperture is used; +but with a low-priced lens it is better to stop down to No. 8 (f/11.3) or +No. 16 (f/16), to avoid spherical aberration. Stopping the lens down +increases the time of exposure, and enables one to have greater control +over the operation of exposing the paper, permitting time to shade or +locally increase the exposure at any portion of the image. This is +sometimes useful, but as a general thing stopping the lens down is not +advisable, as interfering with one's judgment in calculating exposures for +various negatives. Having secured the image correct in size and focus, +place thumb-tacks at all four sides of the sheet of paper or card used to +focus the image. These will serve as a guide to the placing of the +sensitive paper. Adjust the lens stop as desired and cap the lens, leaving +the room totally dark save for such safe light as we may have for working. +Place the bromide paper on the screen, using the thumb-tacks as a guide to +the correct position in this. + +In making his first enlargements, the beginner should avail himself of the +help of test-strips. These should be about one inch wide and the length of +the paper. The exposure depends on a number of factors, among which are +light, negative, focal length of lens, size of enlargement, stops, +sensitiveness of paper, developer, temperature of developer, and length of +development. The first experiment had best, therefore, be made on a purely +arbitrary basis, for which we will take ten seconds. + +Pinning a test-strip on the screen, we uncap the lens and with a piece of +cardboard shade two-thirds of the strip during five seconds; move the +cardboard, and give the next section five seconds making ten for the +first; then remove the cardboard entirely and give five seconds more, +making fifteen for the first, ten for the second, and five for the third. +Now develop the strip. If the fifteen seconds portion finishes development +in less than one minute, and the ten takes approximately a minute, we will +know that our basis was correct. But if all three were over-exposed or +under-exposed, as shown by one minute's development, we can expose the +next test-strip accordingly. + +In determining the correct exposure, the method already set forth for +contact exposures is a reasonably good one. If the paper with a given +exposure takes half the proper time to develop, halve the next exposure; +if double the time, or more, double it. More could be said on the subject +of exposure, and possibly to advantage; for instance, there are tables +showing the exact relation of exposure to the number of times of +enlargement, but complicated calculations in the dark-room are troublesome +and a test-strip is simpler. After a while one gets the ability to +determine the approximate exposure required by looking at the enlarged +image on the screen, correcting slight errors by length of development, +and greater ones by modifying the developer by diluting or strengthening. + +It should be remembered, however, that in judging exposure by reference to +the screen, we must consider the high lights, as well as the shadows. It +is in the high lights that we need the detail if we are to have soft +pictures. If this detail in the high lights is plentiful and clear we may +know that our light is strong enough for a very short exposure. If it is +very faint, we will have to give a long exposure and use diluted developer +to save the over-exposed shadows. On the other hand, if the image on the +screen is a flat one, we may know that our light is too strong for the +negative, and it must be modified by removing the reflector or by +interposing ground or yellow glass; and if neither of these suffice, we +can simply lay the negative aside for a dark day when the light will be +very much weaker. Frequently all necessary contrasts can be obtained by +the use of the _hard_ paper before referred to. As under-exposure tends to +increase contrasts, we should also give the minimum exposure in the case +of flat negatives, abandoning for a time our standard one-minute +development. As will be seen by this time, there are many wrinkles about +using bromide paper, and it will be found that new ones appear at every +_seance_ in the enlarging room. + +But why is it that so many of our enlargements are black in the shadows +and chalky in the high lights? Why, simply because our light is too weak +for our negative. We forget that if we cannot modify our negative we must +modify our light. It is this characteristic of the bromide enlargement +which has prevented the process from enjoying the popularity it deserves. +And I sometimes wonder whether this chalkiness is due to the use of the +north light! + + + + +CHAPTER VI + +DODGING, VIGNETTING, COMPOSITE PRINTING AND THE USE OF BOLTING SILK + + +Of all printing processes, bromide enlarging offers the best opportunities +for successful dodging and modification. We can cut our light down and +take all the time we want, or we can take as little time as we want. A +hand, a finger, a slip of paper, or anything within reach, will suffice to +shade the light just as we want it. In this connection it is well to +always hold the shade nearer the lens than the easel, as greater diffusion +results and there is less danger of sharp lines. In shading a foreground +to bring up a dense sky, first make a test-strip or two, noting how long +the shading is carried on and how long the light is allowed to act on the +whole. If the sky is then over- or under-printed we can modify it in the +enlargement proper. + +The best arrangement for vignetting in enlarging is a piece of cardboard +the size of the negative, with an opening cut out at the proper place and +about the size of the portion of the negative to be vignetted. This is +held near the lens and moved backward and forward between the latter and +the screen, the opening showing larger as we near the lens and smaller as +we recede from it. Very tasteful vignettes can be made in this way. A +favorite method of the writer's is to use a sheet of bromide paper, +preferably that with rough surface, and print on it a small vignette of a +portion of a negative. These sheets being of a uniform size are then bound +in book form, and make very attractive souvenirs. Variety can be added to +the collection by printing some of the pictures through a mat fastened on +the screen over the paper, when, of course, they are bounded by straight, +sharp lines. + +Double printing in enlarging is not at all difficult. Assuming that +test-strips have been made determining the proper exposure for each +negative, I will briefly outline the process. Taking a landscape negative +with clear sky in which we wish to print clouds, we first tack on the +screen a sheet of paper the size of our bromide, and after properly +adjusting and focusing it, trace with a pencil the outline of the skyline. +We then remove the foreground negative and, after tracing, cut out a mask +conforming to the size and shape of the foreground, cutting away the sky. +We now put in the box the sky negative, and readjust our sheet of paper +until after proper focusing the desired portion of the sky occupies the +portion reserved for it, leaving the thumb-tacks as a guide when we put +our bromide on the screen. Now using the sheet of paper as a guide, place +on the edges of the bromide paper two little pencil marks to show how far +we shall shade the lower portion of the paper. Our mask being the size of +the foreground negative, 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 +enlarged. But this would leave a sharp line if held exactly at that point, +so using the pencil marks on the margin as a guide, we slowly raise and +lower the mask very slightly and just sufficient to cause an agreeable +blending of the sky into nothing. The proper exposure given, we cap the +lens, remove the paper and insert the foreground negative. Now we must +again adjust our sheet of plain paper until the sky line marked on it +coincides with the sky-line on the screen, leaving thumb-tacks as usual. +Registry being thus secured, we simply expose the foreground and develop +the composite print. + +Needless to say, our clouds must be lighted from the same general +direction as the landscape. But if in the negative they are not so lighted +it can be reversed in the holder and will then print properly. In almost +all cloud printing the tendency is to give undue prominence to the clouds +by printing the sky to too deep a tone. This, besides making the blending +very noticeable at the horizon, results in unnatural effects and should be +avoided. + +If the sky portion of the landscape negative is thin, it might print +slightly and spoil the effect of the clouds. This can be overcome by using +a weaker light in enlarging. Where this is not desirable, a mask can be +cut for the sky portion and used slightly while the foreground is being +printed. By using it a very little during the first part of the exposure +the tint will be overcome, while objects projecting above the horizon will +be sufficiently printed. It will be found easier, no doubt, to print the +landscape first and sky afterwards. But this does not result in good work. +The landscape should invariably be printed after the sky portion. + +Bolting silk enlargements were for a time very popular. Sometimes they +were artistic. Then every-one began making them, too often from unsuitable +negatives, and they fell into disrepute. This method of enlarging is, in +fact, suitable for very few negatives and only where broad effects of +light and shade are desired. To cut up a spotty negative with a succession +of lines does not necessarily give a broad effect in the picture. But for +softening down heavy masses of shadows, and blending them harmoniously +with masses of light or half light, the process is without an equal. The +bolting silk can be bought by the square yard of dealers in photographic +supplies, and should be stretched evenly over a frame made of quarter- and +half-inch wood, being tacked between the two strips. This frame can be +easily adjusted to fit over the paper on the screen. By using the side, +bringing the cloth within a quarter of an inch of the paper, the lines are +more evident, which is not so objectionable for very large work. But for +the softest effects, reverse the frame and use it at half an inch from the +paper. In this way we get a soft diffusion of the lines and much greater +general softness. It should never be used nearer than a quarter of an +inch, as the lines then become too evident, and hence fail in the effect +desired. The bolting silk comes in three grades, fine, medium and coarse. +The medium is the best for general work. It should not, however, be used +for sizes under 8 x 10. The interposition of the cloth requires about +one-half additional exposure. Focusing, of course, must be done without +the frame in place. The bolting silk should only be used with paper which +is to be toned to some color other than black, as there is something +incongruous in its use with black tones. + +Few branches of photographic work, outside of negative-making, are as +fascinatingly interesting as the making of enlarged prints on bromide +paper from small negatives. Every amateur has negatives worthy of +enlargement in his collection, and the process is so simple as to be +within the capacity of the amateur who is still in his first year in +photography. Its practice will stimulate his interest and help him in all +his other photographic work. Especially will it help him in +picture-making, 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 negative. Moreover, in its essentials, bromide enlarging calls +for no special equipment other than the ordinary hand- or view-camera, and +a dark-room or other convenient work-room from which all "white light" can +be excluded on occasion. + + + + +CHAPTER VII + +THE REDUCTION AND TONING OF BROMIDE PRINTS + + +The subsequent manipulations with bromide paper do not differ materially +from those with negatives. 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 only, in the positive we aim to please the eye, +makes another. But generally speaking, it may be said that whatever we can +do with the negative we can do with bromide paper, that is, in so far as +the emulsion itself is concerned. + +The first operation to be taken up is the reduction of prints which are +too dark. This can best be effected just after the prints come from the +hypo. A few grains of red prussiate of potash are dissolved in a suitable +quantity of water, the latter being barely tinged, not of a strong yellow +color. If the print is too dense throughout, it can be immersed without +previous washing in this solution. Reduction should take place gradually, +and this is best accomplished with a weak reducer. If the tray be rocked +gently the reduction will be quite uniform. If, however, only a portion of +the print needs reduction, this can be effected by applying the +ferricyanide solution locally with a brush or bit of absorbent cotton. +Extreme care is needed in this operation. In this way unduly deep shadows +can be softened, veiled high lights brightened, or almost any modification +obtained which may be deemed desirable. When reduction is almost completed +quickly rinse the print in running water and then wash thoroughly. If the +print has been dried, it is only necessary to soak it for a few moments in +a fresh fixing bath, when the ferricyanide can be applied as before. + +Latterly the toning of bromide prints has become popular. There are many +methods and innumerable formulae. Here we shall concern ourselves with the +sulphide method which best fulfills the three chief requirements, namely: +(1) Certainty of results; (2) the use of few baths; (3) the production of +permanent prints. Processes which, as regards color, vigor, etc., are +beyond the control of the worker, are of very little practical use. +Equally so, if the toning involves a whole string of operations, the final +outcome of which is usually--a spoilt print. And, lastly, 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 +adoption. In one or two other respects, processes vary chiefly as regards +the depth or intensity which the print must have in order to produce the +most satisfactory result when toned. Thus, prints to be toned with uranium +require to be distinctly on the pale side, whilst those for sulphide +toning are best a little vigorous. One or two other methods, on the other +hand, require the use of the costly gold or platinum salts. The latter, +except under exceptional circumstances, are far better employed in the +legitimate form of platinotype or other platinum paper; bromide prints +toned with platinum will probably cost more, and will never have the +absolute permanence peculiar to the platinum print. + +Placed in rough order of merit, the processes available are: Sulphide +toning (hypo-alum toning is a cheaper, slower, and not quite so effective +form of this method, whilst the thio processes represent sulphide toning +at its best); copper toning; toning by re-development. These methods +differ, not only in the results which they give, but also as regards the +perfection with which each attains its particular effect; on the principle +of the lady in the play who spoke the "absolute truth under the +circumstances," each may claim to be included among the really serviceable +processes. + +In the sulphide process, the image which, in a black-developed print, +consists of metallic silver in fine division, is converted into silver +sulphide, a substance which in the ordinary way is also black, but when +produced in a fine condition on a photographic print is brown to sepia +color. Silver sulphide is a most permanent substance. Therefore a +sulphide-toned print should be permanent, too, a conclusion which is fully +borne out in practice. A sulphide-toned print is at least as permanent as +the bromide from which it is made. The image of the latter is susceptible +to practically only one agent likely to come in contact with it, namely, +sulphur fumes from burning gas, which partially sulphurize it and give +rise to iridescent markings resembling those due to stale paper. Now, as +the sulphide-toned print is the result of this sulphurizing process +carried out with intention to a state of completeness, the result should +be--and proves to be in practice--immune to this one cause of defacement. + +In converting the silver image into one of silver sulphide, the method is +to first act on (bleach) the silver image with some reagent which will +change it into a compound of silver susceptible to the action of sulphide. +Iodine has been used for this, giving an image of silver iodide. Bromine +gives one of silver bromide. A mixture of potass bichromate and +hydrochloric acid gives silver chloride, as does also a solution of +chlorine, though in the former case the presence of the chromium compounds +affects the color obtained. But the best of the lot is a solution of the +two substances potassium ferricyanide and potassium bromide, which forms +an image of silver ferrocyanide and silver bromide. Both of these are +converted into silver sulphide when treated with a solution of sodium +sulphide. In the case of the hypo-alum process, in which the prints are +toned direct (without bleaching) in a mixture of hypo and alum, the image +is also changed into silver sulphide, but only to a partial extent. +Theoretically, the method is not so good as sulphide proper; it is much +more inconvenient in practice except on a commercial scale, while the +results cannot be said to quite equal those by the sulphide process as +regards permanency. + +So much by way of theory. We will now give the formulae for the two +solutions required in the sulphide process. The first of these is the +"bleach," or oxidizing mixture of bromide and ferricyanide. Within +reasonable limits, the proportions of these salts and the quantity of each +in the solution does not matter very much. Each chemical can, if desired, +be kept in a separate solution if care be taken to keep the mixture in the +dark,--that is, in a cupboard where it will not be exposed constantly to +daylight. The ferricyanide suffers in time by exposure to daylight; but, +as both it and the bromide are comparatively cheap and serve for a large +number of prints, there is no need to take excessive care. The +ferricyanide-bromide mixture, however, keeps very much better than a plain +solution of ferricyanide alone. Formulae which place the salts in separate +solutions are a mistake. + +As good a formula as any is: Potass ferricyanide, 300 grains; potass +bromide, 100 grains, water 20 ounces; Ammonium bromide may be used in +place of the potassium salt in the above formula; the difference is not +marked, but the ammonium compound tends to give a somewhat warmer brown or +sepia. In the case of many formulae, it will be noticed that equal +quantities of bromide and ferricyanide are recommended. Although, as just +stated, variations in the formula are not at all marked in their effects, +a proportion of bromide over one-quarter of the ferricyanide does tend +towards the yellowish color of which complaints are now and again heard. I +want to make it clear that the opportunities for going wrong with the +bleacher are very small indeed. Without encouraging the reader to be +careless let it be said that "any old formula" (of ferricyanide and +bromide) for the bleacher will prove successful. Not so, however, in the +case of the sulphide solution, which requires to be very carefully made up +and used. + +Sulph_ide_, not sulph_ite_. The material for the toning or darkening of +the bleached print is the chemical substance, sodium sulphide, of the +formula Na_2S.9H_2O. This is purchased as small crystals which greedily +absorb water and rapidly become almost liquid if not properly corked. Not +that this totally unfits the sulphide for use. Sulphide which has gone +liquid will at all times be found to work perfectly, but it is of course +open to suspicion, and, in any case, it is not possible to know what is +the strength of a solution made up with such a supply. For this reason, it +is best to make up the sulphide into solution of 20 per cent strength, and +add this to water to make the toning bath. And it is here that a caution +must be noted. The weak working solution, which is only about 1 to 2 per +cent strength, keeps very badly indeed, and should be made up fresh from +the stock solution at the time of toning each batch of prints. This is one +of the most necessary items to bear in mind in using the sulphide process. + +Sodium sulphide is sold in various degrees of purity, and the label on the +bottle is not always in exact correspondence with the condition of the +substance inside, but the two forms which must be adhered to for sulphide +toning are the ordinary "pure" and the "pure for analysis." The former can +be obtained from any reliable drug store or photographic dealer. It comes +in small lumps, yellowish to greenish in color; when dissolved in water +the solution will be yellow, and will usually show a deposit which must be +filtered off. This sulphide will give tones which are sepia brown with +most papers. In the case of the "pure-for-analysis" sulphide, which is the +recrystallized variety, the salt will be pure white and will form a quite +colorless and clear solution in water. The tone given by this kind of +sulphide is usually of a more purplish color. The distinct difference +between the two commercial varieties of sulphide should not be overlooked, +as it allows the worker to modify the process usefully when dealing with +papers differing (as all papers do) to a slight extent in their +adaptability to sulphide toning. The purer form has certainly much better +keeping properties than the other, but either, if made up in 20 per cent +solution, keeps for a month or two at least--which is enough for all +purposes. The chief difference between the two is noticed in the diluted +or working solutions. That of the purest sulphide _may_ be kept and used +again, though it is not really good policy to do so. + +The supply of sulphide should therefore be dissolved as soon as purchased, +as follows: _Stock sulphide solution_--20 per cent; sodium sulphite 4 +ounces; water to make 20 ounces. The actual toning solution is made up at +the time of treating the prints by mixing the above stock with water, as +follows: _Sulphide toning bath._--Stock 20 per cent solution 3 ounces; +water to make 20 ounces. + +This makes a bath which contains about one per cent real sulphide, +corresponding with about a 3 per cent solution of the sulphide as +purchased. If the bath is much weaker, the tone obtained is usually not +quite so good; while, if it is stronger, there is danger of the print's +blistering while toning, or afterward in the washing water. Indeed, some +papers need to be toned in a weaker bath, and require also to be fixed in +an alum-hypo fixing bath (see later), so that the strength of the toning +bath given above may be taken as the maximum, and used at half or +one-third strength, as circumstances show to be necessary. And, to repeat +the caution once more, the toning bath is to be thrown away as soon as the +prints have been passed through it. With these points in our mind as to +the making up of the solution, we can come to the process proper. + +The prints require to be well washed and free from hypo before being +placed in the bromide-ferricyanide bleacher, because any hypo in +conjunction with the ferricyanide will form the well-known Farmer's +reducer, and cause patchiness of the prints. It is immaterial whether the +prints are taken direct through the toning process or dried in the +meantime. Some workers contend that the toning process is more regular if +the prints are dried before bleaching. In either case, immersion in the +bleacher will cause the fully developed bromide to disappear, leaving only +a faint brown image behind. In some cases the image is fainter than in +others, the difference appearing to depend chiefly on the developer +employed. Developers with a liability to stain will give prints which do +not bleach out so completely as those made with cleaner working +developers. But, in all cases, two to three minutes' action of the +bleaching solution will be ample; if all pure black is not gone in this +time, it is a sign that the bleach is becoming exhausted. The prints +should be kept constantly on the move whilst in the solution, and turned +over and over to ensure equal action. They are then given quite a brief +rinse in running water--half a minute to a minute--and then transferred to +the sulphide solution, where they should darken to the full brown or sepia +tone in a few seconds. It is well always to leave them here for twice to +three times the period required to give the full tone. A wash of half an +hour will remove the salts left in the film. + +Granted that bleacher and sulphide are in proper working order, there is +one further factor in the making of sepia prints which is of vital +importance, and that is the proper preparation of the print itself. A good +sulphide tone presupposes a good black and white bromide. Not only that, +defects in the bromide which may lie latent while the print is untoned +come to light in the sulphide bath. This applies to uneven fixation (due +to omission to keep prints moving in the hypo bath) and fingering of the +surface; while, as regards the original development of the print, making +the best of a wrong exposure will not do when sulphide toning is in view. +A print that is forced by long development will suffer in tone, the result +being colder and less satisfactory as regards vigor. Full exposure, and +development which is complete in the normal time for a perfect black +print, are the conditions for a good sepia tone, and, when a batch of +prints is being put through, it is well to take steps to preserve a +uniform time of development in order to secure an identical tone +throughout. + +There are many different formulas for the uranium toning of bromide +prints, and I suppose that most of them have given good results with the +workers who published their methods. Of those which I have tried, however, +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 experimenting. It +may be that this formula is not wholly original with myself. At any rate, +I do not claim anything for it except that it works, with me, better than +others I have tried. + +The requirements for toning bromide prints with uranium are: 1 ounce of +uranium nitrate; 1 ounce of potassium ferricyanide (the red crystals); 1/2 +pound bottle of acetic acid--c. p. glacial preferred; water; a supply of +blotting paper, to be kept exclusively for this purpose, and a few +absolutely and chemically clean trays. + +The expense attached to these toning processes is slight. Uranium nitrate +costs from forty to sixty cents per ounce, and an ounce will last a long +time. Potassium ferricyanide costs about twenty cents per pound, and a +pound is ample for a lifetime. Glacial acetic acid is a little more +costly, but a half-pound bottle will prove a good investment. It is used +also, as the reader will recall, in making acid hypo for acid fixing. + +To prepare the toning baths, dissolve the ounce of uranium nitrate in 10 +ounces of water. The water should be distilled if this is easily +obtainable, and the solution should be kept in an orange-glass bottle or +an ordinary bottle protected from light by a non-actinic paper wrapping. +Dissolve the ounce of potassium ferricyanide in 10 ounces of water. Keep +this also in an orange-glass bottle, well corked. There are many cautions +about this particular salt, and it has been said that it will not keep in +solution. In my practice I find no difficulty whatever in the use of a +solution six months old, despite the difficulties mentioned in the +text-books. + +To tone the bromide prints, first note that the prints should have been +developed and fixed and washed just as usual. It is necessary that prints +to be toned shall contain no trace of hypo. To secure this, the prints +should be specially prepared for toning by being again thoroughly washed, +as any hypo remaining in the print will cause spots and streakiness. With +care at this stage the toning will give clean and bright prints, which +should be as permanent as the original bromide print. + +I cannot give the reason why, but, as a general rule, bromide prints tone +better if the print has been dried after washing and rewet just before +toning. There may be a chemical reason for this, but I am inclined to +think that it is a physical one, viz., that the emulsion is softer after +its first washing than after having been dried and wet, so that it allows +toning solution to get into the film more quickly. This naturally results +in more rapid toning, and quick toning does not yield as good prints as a +slower and more gradual building up of the color image. + +Having the print ready for toning as here outlined, take 1 dram of the +uranium solution, add 1/2 dram of acetic acid and then 5 ounces of water. +In a separate graduate put 1 dram of ferricyanide solution and 5 ounces of +water. Just before toning, pour these two solutions together into the +third graduate and use immediately. To proceed, lay the rewetted print +face up in a clean tray and flow the freshly made toning bath (the two +solutions combined) over the print. The print and tray must be kept in +motion by gentle rocking during the toning operation. The toning solution +tends to throw a red precipitate as it works. This precipitate should not +be permitted to settle on the face of the print. Some workers tone their +prints face down, but I do not advocate this, as it is important to take +the print from the toning bath at just the right moment, and, as the +toning process is short (six or seven minutes is usually sufficient even +for the deepest red) you need to watch the print all the time. In the +toning operation note that a constant quiet motion of the tray, to keep +the solution moving over the print, is essential to success. + +I have already given, in an earlier paragraph, the order in which the +colors come. But that order was for a normal print. Some prints behave +differently, and it is in the control of these unavoidable variations with +different prints that skill and success come. A print of a half-tone +subject against a jet-black background, a portrait, for instance, will +hardly follow the normal order in the appearance of colors. 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 all. If the +toning was stopped at this stage, some very pretty effects in double +toning might result. + +From this explanation of the toning process, the discerning reader will +perceive the need for caution in selecting the best kind of a print for +uranium toning. Thus a print which has a bald-headed sky will tone only in +the body of the print, but if there is any tint at all to the sky, it also +will tone, giving an effect not much to be desired except for sunset or +sunrise pictures. If white high-lights are desired in the toned print, +they must be white originally and not the least bit fogged. As +double-toned effects in a print are not usually desirable, those prints +having deep black shadows or dark masses will be avoided. The best kind of +print for this method of toning is one fully exposed and slightly +under-developed, since, when the uranium does take hold of the shadows, it +makes for an increase of contrast. + +Experience is the best teacher, and I could not begin to describe in +detail what the reader can himself ascertain from a few experiments. Some +prints needing contrast should be carried far in the toning solution; +others, not needing contrast, will give better results if they are toned +only through the browns, and so on. The reader who can spend a Saturday +afternoon with a few bromide prints, varying in character, will learn more +from his experimenting than I could tell him in many pages. For these +experiments waste or imperfect black prints can be used with practical +economy, the chief object being to watch the progress of toning and +chemical changes. + +When the desired tone is reached, remove the print from the toning +solution and wash quickly and well in running water for fifteen minutes. +If washed too long, the color of the print will fade and a dead and +lifeless print will result. If not washed long enough, the yellow of the +ferricyanide will remain in the print, robbing its gradations of +brightness and purity of color and impairing the permanency of the print. + +A big advantage in this method of toning is its wonderful adaptability. +There is no hard and fast rule as to the proportion of the chemicals to +the bulk of water used. Try two drams of each of the two solutions; then +three drams of each, but watch that the print does not get beyond you in +toning. 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 water, because I prefer slow +toning and the accompanying ease of control which the flash-in-the-pan +formula does not admit. Quick toning, like quick development, tends to +block the shadows in the print, and if you once get bronzed shadows the +print is practically hopeless. Not quite ruined, however, as a bath in a 5 +per cent solution of sodium carbonate will discharge the color and then, +if the print is faded, it may be redeveloped in an alkaline developer such +as metol-hydro. But before it is retoned the print must be thoroughly +washed, as the presence of sodium carbonate does not permit the toning +solution to do its work. + +Finally, I may say that, while a bath of acetic acid and water is often +advised to stop the toning action in this method, I have never found it +necessary. + +All the thin varieties of bromide paper curl badly in drying. If they are +to be kept unmounted it is well to immerse them in water to which has been +added a few drops of glycerine. This will ensure their lying flat after +drying. A solution of 2 ounces of glycerine in 25 ounces of water is +advised when it is desired to make bromides on heavy rough paper remain +flat, after drying, for book illustration and similar purposes. + +If one is trying to rush through a bromide print, it can be trimmed while +wet by placing it on a sheet of stiff paper and cutting through both. + +The paper will be found to cockle the mounts badly in drying. Aside from +the glue mountant, formula for which accompanies the paper, I know no +preventive except to mount the prints while dry with the dry mounting +tissue. As the paper when wet stretches one way considerably, as much as a +third of an inch on a ten- or twelve-inch length, provision must be made +in trimming, especially if mounts with centers of a given size are used. + +The paper being covered with an emulsion which in warm weather is very +soft while wet, mounting is somewhat more difficult than with some of the +other papers. My method is to mount not more than half a dozen at once, +placing them face down, one on top of the other, on a glass or ferrotype +plate, blotting off the surface water and spreading the paste over the top +one in the usual way. I place this on the mount and then stretch over it +smoothly a damp handkerchief or piece of very thin rubber cloth, rubbing +the print down with my hands, seldom using the squeegee and then very +lightly. By this method abrasion of the surface seldom results and +air-bells are unknown. Owing to the strong contracting power of the paper +in drying, the mounting paste must be used freely, especially at the edges +of the print. + +Apart from the methods of procedure here given, there are innumerable +modifications covering every detail of contact printing and enlarging on +bromide paper. Most of these have been given careful trial as published, +but few have quite fulfilled the expectations they created. + + + + +BOOKS. + +Manuals dealing with the manipulation of the various brands of paper may +also be obtained, generally _gratis_, from the various manufacturers of +bromide paper or their American agents as follows: The Eastman Kodak Co., +Rochester, N. Y.; The Defender Photo Supply Co., Rochester, N. Y.; J. L. +Lewis, New York City. + + + + +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 +F. L. 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The light is reflected so as to give a perfect even illumination +over the entire surface of the negative. + +The time of exposure varies according to the power of the light, the +density of the negative and size of the enlargement. Approximately an +average negative enlarged to four times the original size will take about +one to one and one-half minutes. + +Prices + + No. 1. For 5 x 7 and smaller negatives $12.00 + No. 2. For 8 x 10 and smaller negatives 15.00 + +_Ask your dealer to show you_ + + +MANUFACTURED BY +GEORGE MURPHY, Inc., 57 E. Ninth St., New York + + + + +Cheap Blotting Papers are expensive in use and may ruin your prints. There +is practical economy and comfort in the use of + +PHOTO FINISH WORLD BLOTTING + +The Best for Twenty Years + +Made expressly for photographic use. 100% pure cotton fibre, very +absorbtive and non-linting. Absolutely free from anything that can injure +the photographic print. Notable for its smooth, hard finish, giving +durability in use. Try it and you'll use no other. + +UNEQUALLED IN QUALITY ECONOMY and SATISFACTION + +Your dealer can supply you if you will insist on getting "Photo Finish +World." It is worth insisting upon. + + +Manufactured by +THE ALBEMARLE PAPER MFG. CO. +Richmond, Va., U. S. A. + + + + +DURATOL NON-POISONOUS RAPID DEVELOPER + +Produces essentially the same results as other =coal-tar= developers. It +is economic by reason of slow exhaustion, and its solutions are stable for +many months, the bottles need not be kept filled to the neck. + +It produces fog-free negatives with the right amount of density in the +high lights, a wealth of detail in the shadows and great softness. + + + BEST FORMULA FOR PLATES, FILMS AND SLOW-WORKING, CONTRASTY GASLIGHT + PAPERS: + + Hot Water 32 oz. + Duratol 15 grains + Soda Sulphite dry 3/4 oz. + Potassium Carbonate dry 1 oz. + Hydroquinone 75 grains + + Development complete in from 2 to 5 minutes. + + + AN EXCELLENT FORMULA FOR SOFT-WORKING PAPERS (ARTURO, CYKO AND ARTEX): + + Hot Water 35 oz. + Duratol 15 grains + Soda Sulphite dry 1-2 oz. + Potassium Carbonate dry 3/4 oz. + Hydroquinone 60 grains + + Development complete in about 2 minutes. + +Sample upon request from + + +SCHERING & GLATZ +150 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 light. No condensing lenses are required. The +reflecting cone supplied with each camera distributes the light evenly +over the entire surface of the negative. + + + PRICE + + Including Negative Carrier and Kits and three sheets of diffusing Ground + Glass. + + No. 1. For Negatives 5 x 7 and smaller $28.00 + No. 2. " " 8 x 10 " " 35.00 + No. 3. " " 11 x 14 " " 45.00 + + +FOLMER & SCHWING DIVISION +Eastman Kodak Co. +ROCHESTER, NEW YORK + + + + +WE RECOMMEND "Agfa" AMIDOL FOR DEVELOPING BROMIDE WORK + +¶ Send an "Agfa" Label and 10 cents for a copy of the "Agfa" Formulae Book. +It contains complete formulae for all makes of paper and other valuable +information. + + +BERLIN ANILINE WORKS +215 WATER STREET +NEW YORK + + + + +$15.00 + +[Illustration] + +From a Small Negative You Can Print a Picture Any Size + +The Radion Enlarging Printer is a device which, used in connection with +your camera, produces prints from either film or glass negatives in any +dimensions you wish. + +The printing is almost as quick as contact printing, and the size of the +prints can be varied instantly. + +THE RADION ENLARGING PRINTER + +enables you to get all the results of a big camera with a small and +inexpensive equipment. It comes to you complete and ready to operate at +any time of day or night. It is equipped with new, specially constructed +Mazda lamps ready to attach to any electric light socket. + +The Radion Enlarging Printer works without the use of condensers, which +thereby reduces the cost of the machine and secures a better detail on the +print. + +PRICE $15.00 + +Most dealers in photographic supplies can sell you a Radion Enlarging +Printer. If yours cannot, write direct to us. Write anyway for descriptive +circulars that will be of great interest to every camera user. + + +H. C. WHITE CO. + +_Lens Grinders and Makers of Optical Instruments for over Forty Years_ + +503 RIVER ST., NORTH BENNINGTON, VERMONT + +Branches: + +45 W. 34th St., New York City San Francisco London + + + + +The First Essential in Enlarging is the Curry Utility Enlarging and +Copying Board and Springs + +[Illustration] + +It is 20 x 30 inches, made of well-seasoned wood, nicely finished. + +Will hold without injury any size copy of any thickness. + +=Utility Springs= are made of the best nickeled steel. + +Price, including 24 Springs, =$3.50=. + + * * * * * + +THE CURRY STEREON Anastigmat Lens + + Series A--F 4.5 + Series B--F 6.3 + +[Illustration] + +The finest lens at any price for portraits, views or enlarging. + +Send for Price List and "Photo Developments." + + * * * * * + +FRANK J. CURRY + +_Importer, Manufacturer and Dealer in Photo Goods of Every Description._ + +812 Chestnut Street +Philadelphia, Pa. + + + + +For Enlarging + +Bausch & Lomb-Zeiss Tessar IIb-F:6.3 + +because of its excellent optical corrections. + +The =Tessar= has a flat field allowing exposures at full aperture. + +No danger from vibration because of long exposure. + +Saves exposure time on dense negatives. + +For Sale by Dealers. + +Send for Booklet 70 H, "Useful Tables for the Photographer," free on +request. + +Contains tables on enlarging. + +_Our name, backed by over half a century of experience, is on all our +products--lenses, microscopes, field glasses, projection apparatus, +engineering and other scientific instruments._ + +[Illustration] + + +Bausch & Lomb Optical Co. +NEW YORK WASHINGTON CHICAGO SAN FRANCISCO +LONDON ROCHESTER, N.Y. FRANKFORT + + + + +You see the picture before you on the ground glass, 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 velocity, ease and speed of operation, +simplicity of construction, freedom from outside mechanism, perfect +workmanship. + +REGULAR 4x5 and 5x7 + +LONG-FOCUS 4x5 and 5x7 + +JUNIOR REFLEX 3-1/4x4-1/4 (fixed focus) + +Price $12, with either one Holder or Adapter. + +_Ask any independent dealer or write for catalogue and sample print to_ + + +REFLEX CAMERA CO. +Newark, N. J. + + + + +GOERZ CAMERAS + +ARE UNIQUE IN THE HAND CAMERA LINE + +OUR NEW VEST-POCKET TENAX + +is the finest pocket camera ever made. It measures, closed, +3/4x2-3/4x3-1/2 inches. Equipped with Compound Shutter, all speeds up to +1-250 second. We furnish with it a purse case containing six nickel +holders for plates 1-3/4x2-5/16 inches. Our fine enlarging apparatus, made +especially for use with this camera, will afford good enlargements of +various sizes up to 5 x 7 inches. + +Our =Ango=, =Manufoc Tenax= and =Folding Reflex= are all splendid cameras +for the professional photographer and ambitious amateur. + +They show the same high qualities of workmanship which distinguish + +GOERZ LENSES + +Get our new illustrated catalog from your dealer or direct from + + +C. P. GOERZ AMERICAN OPTICAL CO. +OFFICE AND FACTORY: 317 EAST 34TH STREET, NEW YORK + +Dealers' Distributing Agencies: For Middle West, Burke & James, Chicago. +Pacific Coast, Hirsch & Kaiser, San Francisco. + + + + +[Illustration] + +HOW TO MAKE YOUR CAMERA PAY + +Here are books you'll surely want to read! For they show how you can +increase your ability to make money with your camera. They tell how to +make prints for book, magazine and newspaper publishers, and show how you +can make money during spare time. + +The LIBRARY of AMATEUR PHOTOGRAPHY + +contains the boiled-down experience of years. Collier's, Leslie's and +dozens of publications are always glad to consider any interesting +photographs. They pay from three to five dollars apiece. A score of other +profitable branches are covered. Here are the money-making facts you have +wanted. These books are just from the press. + +Now is the time for you to get full information. We have interesting +literature to mail upon receipt of your postal. Write now for our special +offer to LIVE AMATEURS. + + +AMERICAN PHOTO TEXTBOOK CO. +608 Adams Avenue SCRANTON, PA. + + + + +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 used. +Just the few simple directions for finishing the prints. + +The enlargement retains all the quality of the negative. The results are +certain. + +[Illustration] + + THE PRICE + + No. 2 Brownie Enlarging Camera, for 5 x 7 Enlargements + from 2-1/4 x 3-1/4 negatives, $2.00 + + No. 3, ditto, for 6-1/2 x 8-1/2 Enlargements + from 3-1/4 x 4-1/4 negatives, 3.00 + + No. 4, ditto, for 8 x 10 Enlargements from 4 x 5 + negatives (will also take 3-1/4 x 5-1/2 negatives), 4.00 + + +EASTMAN KODAK COMPANY, +ROCHESTER, N. Y. + +_All Dealers._ + + + + +[Illustration] + +Prints by Gaslight + +VELOX increases the number of negatives that are worth printing from. + +The results from contrasty negatives are softened by the use of "Special" +VELOX--improved brilliancy is secured from flat negatives by using +"Regular" VELOX. + +_ASK FOR THE VELOX BOOK._ + + +NEPERA DIVISION, +EASTMAN KODAK COMPANY, +ROCHESTER. N. Y. + +_All Dealers._ + + + + + +End of Project Gutenberg's Bromide Printing and Enlarging, by John A. 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