42 THE WOMBAT. 



sky. On the contrary, how often do we hear such remarks as 

 *' What a beautiful sky ! " " What striking clouds ! " and so 

 on. Even when the sky is not particularly effective, we 

 hardly know what an important part it plays in a view until 

 we see a photographic picture with a clear staring sky, 

 meaningless and expressionless, a face without the eyes. In 

 nine cases out of ten a negative will not print its own clouds 

 with the view for several reasons. They are chiefly that the 

 sky developes faster than the view, and so becomes exceedingly 

 dense, or that the clouds were not sufficiently marked in 

 themselves, or perhaps the sky was clear. Whatever the- 

 cause the print is bare, and clouds must be put in by what is 

 generally termed double printing. 



I am aware of several methods that have been suggested 

 for keeping the sky back during development, by local appli- 

 cation of restrainers or by brush development, and also by 

 reduction after fixing. I shall not however enter into these 

 to-night, as they hardly come within the scope of my paper. 

 Let me first recommend you to make a collection of cloud 

 negatives. Take them whenever you get the chance, some 

 lighted from the right, others from the left ; also, both top 

 and bo'ttom light. Take a print from each negative, and 

 keep the lot in an album, and from your varied collection you. 

 will soon see which best suits the view in hand. If theTatter 

 be lighted from the right, choose a cloud lighted from the 

 same direction. The best effects you will get in the morning 

 or evening while the sun is near the horizon. 



It is almost useless to take white clouds in a clear blue 

 sky ; the latter will develope as fast as the white clouds. The 

 use of a screen will however overcome this difficulty, but the 

 exposure must be prolonged. Coppery coloured clouds take 

 well. Always take about an inch of the horizon with your 

 clouds, or you may get them upside down ; and, if you can, 

 get them on a plate a size larger than you use. This will 

 enable you to shift your print about to get the best effect. 

 Back your plates and give a short exposure, remembering, 

 that it is not necessary to use your smallest stop. A shutter 

 set to a fairly slow speed is better than the cap. Develope for 

 contrast and not too dense, using rather less than the normal 

 quantity of accelerator. Use the same kind of developer that 

 you use for your ordinary work. 



Having chosen your cloud negative, take a print from 

 your view, and having carefully cut away the sky along the 

 horizon, or the edges of buildings, blacken the view part all 

 over by exposing it to the light. Write what it is on the 

 back, and you have a permanent mask for that particular 

 view. To use it take a print from your negative, and care- 

 fully fit the mask over it with a touch of gum at corners to 

 hold it in position. Place your cloud negative in the frame- 



