AMATEUR PHOTOGRAPHY. 



249 



been previously prepared by pasting on it 

 a piece of blotting-paper, of the size of the 

 print, the pasted print is transferred to the 

 mount, and the second block, with the clear 

 opening, is placed on it. The print, with 

 the block in position, is then passed 

 through a press. The surface retains its 

 high glaze in the centre, and the margins 

 are matt. — British Journal of Photography. 



UNDER-EXPOSED PLATES. 



In dark days, under-exposure is gener- 

 ally the rule, and not the exception. The 

 remedy proposed is to develop the plate 

 with a pyro-soda developer until the high- 

 lights appear. Then wash well, for half a 

 minute, and, finally, complete development 

 with metol. The plan is applicable also to 

 cases in which the correctness of exposure 

 is uncertain, and has for its object the mak- 

 ing cf a negative strong in the lights and 

 rich in shadow details. Using pyro and 

 metol separately is said to give far better 

 results than either developer would give 

 singly or in combination. — Photography. 



BROKEN NEGATIVES. 



I have read many articles on printing 

 from broken negatives, but never until re- 

 cently had occasion to try it. Then I tried 

 all the formulas and found that not one 

 would yield a print that did not show at 

 least a slight trace of the crack. To make 

 a new negative was next to impossible as 

 the locality was about 75 miles distant, by 

 rail, and an 8 mile drive after that. As a 

 last resort I covered the frame with a 

 rather thick sheet of tissue and set it out, 

 in a North light, where no sunshine could 

 strike it. The result was all that could be 

 desired — a perfect print without the slight- 

 est trace of a crack. It took one whole day 

 to print, but the result amply repaid me for 

 the time. 



I have also tried printing in direct sun- 

 light, covering the frame with a sheet of 

 albumen paper, that is unsensitized; also 

 by covering with a sheet of ordinary tissue 

 paper and placing a piece of ground glass 

 over it — tissue and glass to cover entire 

 frame so as not to admit any light from the 

 sides. G. A. C. 



Please send me the names and addresses 

 of all your friends who are sportsmen, in 

 order that I may send them sample copies 

 of Recreation. 



"Do you think there is any money in 

 politics, Jimpson? " 



"You bet there is. That's where all 

 mine went." — Detroit Free Press. 



Join the L. A. S. at once. 



ALWAYS MENTION RECREA- 

 TION WHEN ANSWERING ADS. 



PLATINUM AND GOLD TONING. 



Kastner suggests the tollowing treat- 

 ment for matt solio paper, and states that 

 it gives pure black tones. The prints are 

 first toned in: 



Solution of chloro-platinite 



of potash (1 : 100) 30 parts 



Potassium chloride 2 parts 



Water 1000 parts 



till they assume a bluish violet color, and 

 they are then further toned in a bath of: 

 Ammonium sulphocyanide. . 20 parts 



Citric acid 20 parts 



Chloride of gold 2 parts 



Water 1000 parts. 



After washing, the prints are fixed. — Brit- 

 ish Journal of Photography. 



HARDENING GELATINE PRINTS WITHOUT 

 ALUM. 



The following bath is said to be excellent 

 for making the surface of gelatine prints 

 extremely hard: 



Tannin 1 gr. 



Sodium chloride 10 gr. 



Saturated solution of potassium 



aluminium sulphate 100 min. 



Distilled water 2 oz. 



After 15 minutes' immersion the prints can 

 be pressed between blotting paper without 

 sticking. If dried on glass plates, previous- 

 ly rubbed with talc, they may be dried at a 

 temperature of 85 deg. F., and will leave 

 the glass, in about half an hour, with an in- 

 destructible gloss. If the prints should be 

 touched with wet or greasy fingers it is 

 only necessary to rub them with a dry rag 

 to remove every trace of the marks. The 

 whites remain quite pure, and prints treated 

 in this way can be retouched without leav- 

 ing perceptible traces of the work — The 

 Amateur (London) Photographer. 



TO CLEAN NEGATIVES STAINED BY SILVER. 



Take a plug of cotton wool and wet it 

 with a weak solution of cyanide of potas- 

 sium. Rub gently all over the negative, 

 using a little more force on the stained 

 parts. Wash well; dry on blotting paper. 

 If necessary to revarnish, flood the plate 

 once or twice with methylated spirit. Let 

 dry, and then varnish in the ordinary way. 

 — Professional Photographer. 



Astrologer — Where were you born? 

 Strawber — Philadelphia. 

 " What time were you born? " 

 " In the day time, I think. I know all 

 the family were asleep." — Life. 



Only 2 months more until Recreation's 

 photo competition closes. Send in your 

 best work at once. 



