i5« 



RECREATION: 



(i) Water 20 cubic centimeters 



10 per cent solu- 

 tion of copper 

 sulphate 1 cubic centimeter 



And enough 10 per cent solution of 

 ammonium carbonate to dissolve the pre- 

 cipitate formed and produce a deep, clear 

 blue. 



(2) 10 per cent solu- 

 tion of potassi- 

 um ferricya- 



nide 25 cubic centimeters 



Water 150 cubic centimeters 



Add 2 to 1. In this muddy liquid the 

 black and white velox will become a rich 

 red. If the solution be diluted, a purple 

 may be obtained in it. 



To obtain green, after turning prints red 

 mix the following bath and use it at once. 

 It does not keep : 



Water 8 ounces 



Potassium ferricyanide, 10 per 



cent solution 24 minims 



Glacial acetic acid 1 ounce 



Uranium nitrate, 10 per cent so- 

 lution 24 minims 



If the whites become discolored, soak 

 prints in a tray of clear but not running 

 water, and if a few changes of water 

 should not clear the whites in 20 minutes 

 immerse in a one per cent solution of 

 sulphocyanide of ammonia until the whites 

 bleach, which they should do rapidly. 



To obtain green, after turning prints red 

 in the last bath given, immerse them in the 

 following solution and then wash sparing- 

 ly: 



Water 3 ounces 



Parchloride of iron, 10 per cent 

 solution 30 minims 



Another green may be obtained by adding 

 2 drams of a 10 per cent solution of urani- 

 um nitrate to the bath given for blue. The 

 green will wash off in running water, hence 

 the prints should be merely rinsed in a 

 tray of water. 



Blue tones are secured in the following 

 bath: 



10 per cent solution of citrate of 

 iron and ammonia 2 drams 



10 per cent solution of potassium 

 ferricyanide 2 drams 



10 per cent solution of nitric acid. .4 drams 



Water 4 ounces 



Immerse the print until a rich blue is 

 obtained, then wash well. The bath keeps. 

 If to this bath is added its bulk of water, 

 a blue-black will result, with grayish half- 

 tones. 



Para-amidophenol developer produces 

 the finest warm black tone. Use the for- 



mula with carbonate of potash given in 

 the directions with the developer, or bleach 

 in 



Bichloride of mercury. 12 grains 



Muriatic acid c. p 2 drams 



Water 6 ounces 



until the image is gone. Then wash well 

 and immerse the print in combined toning 

 and fixing bath diluted to 10 times its 

 bulk. Wash well. 



Sepia tones are to be had with old para- 

 amidophenol developer that has been used 

 considerably, or in 



Hypo-soda 5 ounces 



Powdered alum 1 ounce 



Boiling water 25 ounces 



First dissolve the hypo, then add the 

 alum. This gives a turbid solution, which 

 is to be used unfiltered. The older it is the 

 better, and if used hot it affords results 

 that may take a day or more if used cold. 

 The addition of a trifle of silver nitrate or 

 some printing-out paper clippings will 

 greatly improve the bath if it works slowly. 

 An old bath, used cold, produces the finest 

 prints, though, as stated, it works slowly. 

 After the desired color is obtained, sponge 

 the backs and faces of the prints well and 

 wash thoroughly. E. W. N. 



BALD HEADED PICTURES. 



Formerly a blank white sky in a photo- 

 graph was looked on favorably, and as 

 evidence of great care in the manipulation. 

 I have seen many landscape views in which 

 the composition was faultless, yet the sky 

 was a perfect blank, entirely destroying the 

 harmony of the picture and giving a feel- 

 ing of incompleteness that was aggravating. 

 In negative making the actinic nature of 

 the blue in the sky, although plainly seen by 

 the eye, destroys the harmony or true color 

 value by persistently coming up a dense 

 black deposit on the negative, and even be- 

 fore the other details of the picture are fully 

 developed. With ordinary plates this is 

 hardly possible to avoid, as the plate 

 catches the actinic rays, and the eye sees 

 the luminous rays. Again, the farther 

 those rays have to travel the more sensitive 

 they become, proof of which is that near 

 objects always require a longer exposure 

 than distant objects in a landscape. The 

 darkest part of a cloud will reflect more 

 actinic rays than the brightest part of a 

 landscape, although in color value to the 

 eye the cloud may appear much darker. 



Many ingenious devices have been used 

 to cut off the superfluous light from the 

 sky, such as a sky shade in front of the lens, 

 or a diaphragm with a graduated slot pre- 

 senting a full opening to the foreground 

 and gradually cutting off the top light. 

 These appliances work well in special cases, 



