7. ee 
AMATEUR PHOTOGRAPHY. 
by faint light, and, therefore, increased 
care must be taken when printing. 
To develop, add to each ounce of the 
developing solution one of the sepia tab- 
lets supplied for this purpose, and proceed 
as described for black paper. 
The solution must be heated to a tem- 
perature of 150° to 160° Fah., to obtain the 
greatest amount of brilliance and the 
warmest color, but good results can be 
obtained by using a cooler developer. 
The development is effected by floating 
the printed surface of the papergfor 5 or 
6 seconds on the developing solfition. To 
avoid air bubbles: lay one edge of the 
print on the solution near the right hand 
end of the dish; then, with a sliding mo- 
tion toward the left, lower the print, with 
an even movement, without stoppage, un- 
til it is entirely in contact with the liquid, 
where it must remain until complete action 
has taken place. 
The solution is conveniently contained 
in a flat-bottomed dish, heated by a 
small gas or oil stove. 
It is advisable to put a thin piece of 
tin between the flame and the dish to 
spread the heat. 
Greater care must be used with sepia 
than with black paper, to avoid exposure 
to light, both when examining the prints 
and even in the first acid bath. Otherwise 
the whites will be discolored. 
Discoloration of the whites is due to 
one of the following causes: 1. Too much 
exposure of the developing solution to 
light; 2. Use of a dish in which the enamel 
is cracked so as to expose the iron; 3. 
Paper kept too long; 4. Exposure of prints 
to too much light while clearing. 
The developing bath after use must be 
kept in the dark. This bath must not be 
used for black prints. 
The prints are cleared in an acid-bath 
of one part muriatic acid (s. g. 1.16) to 60 
parts of water. 
As the sepia prints, unlike the black 
ones, may be affected by light when in 
the acid-bath, the lights being stained and 
degraded, the prints at this stage must be 
manipulated in a weak light—gaslight will 
be safe. The prints are damaged by be- 
ing left long in the acid-bath. 
The subsequent operations are the same 
as for the other kind of paper. 
Agate baths or dishes, carefully heated, 
are the best to use for a sepia developer. 
An agate dish which has been used 
once in developing sepia prints should on 
no account be afterward used in develop- 
ing black prints. 
The sepia papers are now made in 2 
grades only—BB and CC 
an 

A TRIFLE MIXED. 
I was going tothecountryfor a few days, 
. dealers for 50 cents a set. 
to the negative. 
4II 
and having only 2 double plate nolders, I 
Ioaded both and took with us, in addition, 
a box of unexposed plates. 
After exposing the 4 plates, I made use 
of a dark closet to reload the holders. I 
carefully put the exposed plates into a box, 
which I covered before opening my unex- 
posed plates. Then I loaded my holders 
with fresh plates, but as the weather was 
urfavorable I used only one, leaving 3 un- 
exposed ones in the holders. 
When I got home I took the exposed 
plate out, developed it, and found it all 
right. Then I took the box of exposed 
plates, developed the first one, and found 
no object on it whatever. The remaining 
three I carried to a professional photo- 
grapher, and he was equally unsuccessful. 
He laughed at me, telling me I had not 
drawn my slides, but I knew I could not 
have made such a blunder. 
There was a child in the family I 
had visited, and I concluded he had opened 
the box, causing fog. I kept thinking 
about those plates, and finally decided to 
expose one on my cat as an experiment. 
The 3 plates « had put in the holders «vere 
still there. I exposed one plate one second 
in a strong light; another on the same cb- 
ject in same light, for 2 seconds. When I 
developed them imagine my astonishment 
on beholding 2 of the pictures I had ex- 
posed when in the country and not a sign 
of a cat on either plate! 
Of course I got mixed in the dark rocm 
and put my exposed plates back in the 
holders, but why didn’t I have a domnble 
object on one of those plates that I ex- 
posed in the country? Then when I ex- 
posed the other 2 on the cat why didn't I 
have a cat mixed in with the views I had 
taken before? I developed the remaining 
plate in the helder and got the other pic- 
ture I had taken while away. 
If any one can explain this I should be 
glad to hear from him in RECREATION. 
R. B. B., Des Moines, Ia. 

THIS, THAT AND SOME OTHER THINGS. 
In August RECREATION Fernand, Port 
Jervis, N. Y., asks how spotting out is 
done. I have found India ink, in the solid 
form, excellent for negatives. A small, 
pointed sable brush is used. Moisten this 
with water and allow it to take up a small 
amount of the ink. The point is then ap- 
plied lightly and skillfully to the center of 
the spot to be removed and gradually the 
color is worked out to the edges of the 
spot. 
This will leave a white spot in the 
finished print which is removed with spot- 
ting colors. These can be bought from 
They are ap-, 
plied to the print in the same manner as 
Of course the color of the 
