See 
AMATEUR PHOTOGRAPHY. 
good clouds are on a negative with a 
view, they are generally over-developed; 
so that to really bring them out it 1s al- 
ways necessary to resort to mask No. 2. 
After masking a negative it is customary 
to cover mask and joint with white tissue 
pasted over all, unless hand masking is to 
be done. 
The cloud effects shown in views printed 
on pages 166, 168, 170, and 172 of Septem- 
ber RECREATION were produced in this 
way. 

“THE “BISHOP” PICTURES WERE 
MADE. 
Will you kindly give me some informa- 
_ tion in regard to the illustrations of “The 
Governor's Wager,” which appeared in 
September RECREATION? 
Gu. -N. -Browi,- Scranton; Pa, 
HOW 

I do not presume to say how Lieutenant 
O’Keefe did it, but if I wanted to do it 
would first make the photo of the bluff and 
the lake and then the snapshots of horse, 
man and diving girl and print in as de- 
scribed in the following, which is part of 
an article in the Photo-American by E. 
W. Newcomb on printing in: 
Additions to foregrounds, too, are not 
difficult, and are often necessary. If the 
distance is good, but the foreground from 
the best point of view tame and_ lack- 
ing in interest, it is safe enough to try 
improving it. Suppose we have a country 
road with grassy banks on each side and 
no figure to relieve the barrenness of it. 
Why not cut out a man waiking along, a 
cow lying down, peacefully chewing her 
cud; sheep grazing, or any other appro- 
priate figure from another negative, and 
print it in, choosing a figure lighted from 
the same source as would be the case 
were it actually there. To do this I make 
a print of the whole negative containing 
the figure to be added, cut the figure out 
carefully with a small, sharp knife, and, 
after sunning both the figure and what is 
left of the untoned print, to make them 
sufficiently opaque, I place the print of the 
figure on the negative in the right place, 
lay on my paper, close the frame and 
print. This gives a print of the scene I 
want, with a white patch where the fig- 
ure is to be. Now I place this print on the 
other negative, in a larger frame, if neces- 
sary, and, by looking through the paper, 
fit the blank spot to register exactly with 
the figure on negative number 2. Cover- 
ing the entire frame with. a cardboard hav- 
ing an opening a little larger than the fig- 
ure in the center, I glue the cutout print 
over the opening so that the figure only 
receives light on it, and thus print in my 
409 
man, cow or sheep, or, in the case men- 
tioned, the horse and diver. 

MORE COLOR TALK. 
E. E. Flora, of Chicago, has invented 2 
machines for ruling on glass that promise 
to bring about a revolution in color pho- 
tography as applied to the production of 
newspaper supplements in colors. 
Mr. Flora found it necessary, for the 
success of the work, that machines should 
be invented which would rule colors on 
glass. No such machines existed, and 
there was a question in the mechanical 
world if they could be successfully em- 
ployed. 
‘These machines can be so adjusted that 
3,400 lines to the inch may be ruled on 
giass, and at present they are ruling from 
400 to 1,500 lines an inch with a perfect- 
ion that has surprised experts who have 
had the opportunity to study them. 
In the working of the processes of 
color photography it was found necessary 
to have mechanisms by which the 3 car- 
dinal colors of the process—red, green and 
blue—could be ruled on the glass viewing 
and taking screens. 
to. sectire this sulmg Mr. Flora “in- 
vented what are. called the vertical and 
rotary ruling machines. The rotary ma- 
chine has 9 wheels, through which the 
color inks are fed and ruled on the glass. 
On this rotary machine 54 plates of 
glass, 8 inches by Io inches in size, may 
be placed and ruled in one hour. The 
plates ruled on this rotary machine are 
called viewing screens, and the number of 
lines ruled on them varies from 300 to 600 
to the inch. 
The experiments so far made by Presi- 
dent: Ds» K> fripp and Mr. Flora shew 
that color photography reproduced on pa- 
per will cause a revolution in the art-of 
illustration. They have perfected the pa- 
per photograph so that the new rival of 
ihe black and white photograph is now 
the color photograph. When the process 
is applied to the colored supplements of 
newspapers, not only will the effect be 
most brilliant, but the expense will be re- 
duced at least one half.—The Fourth Es- 
tate. 

THE WET PLATE PROCESS SLIDE MAK- 
ING. 
This method is used by nearly all pro- 
fessional slide makers, while most amateurs 
use the gelatine plate. The wet plate is 
thought to give a clearer slide and is not 
SO expensive where a large number of slides 
are to be turned out at once. The slide 
plates sold by the trade turn out fine work, 
but if you have time and do not mind stain- 
