AMATEUR PHOTOGRAPHY. 
copy by sliding the camera nearer to or 
farther away from the picture. Having 
obtained the correct size focus in the usual 
manner—securing the sharpest definition 
possible. After which considerably re- 
duce the size of the diaphragm and make 
the exposure. It may be of some assist- 
ance to those who read this to know that 
with the exposures made on a cloudy, 
bright day, using a Goerz lens, 61%4 x 8%, 
stop 64, and a fast plate, I have found 15 
to 20 seconds about right to copy a cabinet 
photo. Of course the exposure will vary 
somewhat with the quality of light used, 
the lens, rapidity of plate, etc., light sub- 
jects taking much less time than those 
having darker tones, and if a painting is 
to be copied an orthochromatic plate 
should be used which can also be greatly 
assisted by the use of a color screen, and 
in this case the exposure would be in- 
creased from three to five times. Develop 
the plate with your favorite developer and 
after a few trials, or even perhaps on the 
first, a good copy will be obtained. In 
copying photographs be careful not to en- 
large much beyond the size of the original, 
for in so doing the grain of the paper will 
show, giving a roughness to the picture 
which at once stamps it as a copy. I pre- 
fer to reduce a trifle rather than enlarge 
for the above reason. The development 
will be somewhat prolonged, at least I 
have found it so with metol, which I use 
of normal strength. Keep the trays cov- 
ered while developing, and do not exam- 
ine the plates too often. If the copy is 
made from a portrait finish it up on matt 
paper and mount on gray cardboard, leav- 
ing a margin of at least 2 inches. A very 
artistic effect can be obtained as follows: 
Assuming that the copy is of a cabinet 
photo, exact size, and the subject % 
length, prepare a mask of black paper 
the size of the plate, with an opening 43% 
x 2 inches wide or of size in proportion to 
introduce the portrait. Place the mask 
over the negative in the printing frame 
and on it the matt paper. Print to the tint 
required. The picture will then have a 
white margin of about one inch, and when 
mounted on a suitable card will prove very 
attractive. In fact, a neat white margin will 
in many instances enhance the artistic 
value of a print, and especially is this true 
of some landscapes and marine views. 
Composition can often be greatly assisted 
by trimming the print down, cutting off 
part of the foreground or a portion of 
the sky, etc. Instead of sacrificing so 
much of the paper why not keep the orig- 
inal size by masking out the objection- 
able features, and thus secure a margin at 
the same time? Masks are very easily made 
with the aid of a sharp penknife, ruler and 
some black paper; the latter can be bought 
in sheets at any stock house. Prepare 
: 
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327 
each mask so that it will be the full size 
of the negative, and so that it will fit ex- 
actly in the printing frame. Then as oc- 
casion demands, cut the openings very ac- 
curately so that only the required part of 
the picture will show through and in such - 
manner that the cut-out will be parallel on 
all four sides with the edges of the mask. 
Those who have not tried this will be 
amply repaid for the small amount of time 
and trouble taken in preparing the masks. 
I have occasion to make these masks and 
cut-outs very often and they can be used 
repeatedly on a variety of subjects. Plat- - 
inum  prints—portraits especially—are 
greatly improved in appearance by mask- 
ing slightly instead of vignetting. The 
white margin may be still further reduced 
after printing, say to 1-16 of an inch, by 
using either a trim~--ing board or the ruler 
and penknife. A platinum print or any 
other matt surface print will look much 
better on the mount if the paste is applied 
to the extreme edges only, leaving the 
center free. Apply the paste to the edges 
of the print with the -finger, then center 
the print cn the mount and rub down. The 
mounts will never warp if the prints are 
applied in this manner and the picture will 
appear to have a finer grain or finish than 
when in perfect contact with the sup- 
port. 
After an extended pilgrimage with ref- 
erence to numerous developers I have re- 
turned to roost with my first love and find 
that pyrogallic acid more than holds its 
own. I still have use for some of the 
others, but for all around work pyro is 
good enough for me. The following for 
mula will be found very satisfactory: 
(Re Sale SOdaRN ew ke ee Wen. 2EO7 
Sulpiniter Soda n(Cryst.) 5. 2) OZ. 
AVENE pin CR 8 ol a an 18 oz. 
Take of A one ounce or less, as needed; 
four ounces of water and six grains of dry 
pyro. Make up fresh for every plate and 
alter the proportions to suit the exposure. 
A 10 per cent solution of potassium bro- 
mide goes with this very modest outfit, to 
be used when required. The bromide so- 
lution can also be used locally on plates 
taken of interior views; take the plate out 
of the developer as soon as the windows 
or other strong lights are fairly outlined 
and then with a soft brush dipped in the 
bromide go carefully over these quick ap- 
pearing spots, allowing the solution to 
sink well into the film, then go on with 
the development, and after fixing the hala- 
tion around the windows, for instance, may 
be considerably reduced, even in most 
cases entirely removed. The brush can 
also be used to advantage in flashlight 
work. If the faces and intense parts of the 
negative are gone over as soon as they 
make appearance the plate will have a 
