408 



RECREATION. 



it is possible to make a brilliant, large 

 negative from a small one, sharply focused, 

 but thin or misty from over exposure or 

 smoky atmosphere, by using a process 

 plate. I have recently had such a case, in 

 which the original was so hazy from 

 smoke, although of good density, that a 

 brilliant print, either in silver or bromide, 

 could not be made from it. There was 

 no possibility of securing a better negative 

 on a clearer day, as the photograph was a 

 record of building operations on a certain 

 date, and it was necessary to get a large 

 brilliant print from it, such as the contrac- 

 tor loves. A transparency was first made 

 on an ordinary plate, but the large nega- 

 tive was not so clear as was necessary. 

 Another transparency was made on a 

 process plate by exposing it by contact 

 for 15 seconds to a 16-candle incandescent 

 electric lamp, about the same power as a 

 good gas flame, and developing to consid- 

 erable density. By reducing the weak fer- 

 ricyanide and hypo a clear, bright trans- 

 parency was obtained, in which the distant 

 details were clear and distinct; the large 

 negative was then made, giving a silver 

 print which showed no signs of having 

 been taken from an enlarged negative. It 

 might have been from a direct negative. 

 This was no doubt due to the absence of 

 grain in the transparency, as the deposit of 

 silver in the process plate is extremely fine 

 in grain. When working from a thin 

 negative a special lantern plate may be 

 used, from a negative of fair average dens- 

 ity an ordinary plate will give a good re- 

 sult, and for a very dense one a quick 

 plate is best. 



HOME-MADE ENLARGING AND REDUCING 

 APPARATUS. 



Many amateurs desire to enlarge small 

 negatives, but do not care to buy an ex- 

 pensive camera for that purpose. An ap- 

 paratus which will answer as well can be 

 made at home and will cost but a few 

 cents and a few hours of time. 



Procure 2 starch boxes with slide lids, 

 and a smaller box just fitting easily in- 

 side the starch boxes. Cut a square hole 

 in the end of one of the larger boxes and 

 cleat it inside and around edges of open- 

 ing. This will serve to hold your nega- 

 tive; make it 4x5 inches, and make some 

 pasteboard frames or kits for small nega- 

 tives. Cut a round opening large enough 

 to admit your lens tube. 



Then take the second starch box and cut 

 an opening in which to fasten your lens 

 tube by the collar. In the opposite end 

 cut a large opening, or take out that end 

 of the box. Next, cut a large opening in 

 one end of the small box, and so ar- 

 range the other end, by cutting and fitting, 

 that you can readily adjust your plate- 

 holder and a ground glass frame, Black 



all inside work with shellac varnish and 

 lamp black. Place your negative in open- 

 ing in front of box No. 1, ground glass in 

 front, and about one inch from it. 



Fasten box No. 2 on a long board, say 

 4 feet long and 12 inches wide. Place box 

 No. 1 in position so that your lens will 

 come opposite opening in rear of box 2. 

 Rim the boxes together and fasten cleats 

 or strips of wood along to keep boxes in 

 position. Fasten box No. 2 to the board; 

 but not No. 1. Let it be free to move to- 

 ward or from your lens tube. Now place 

 box No. 3 in box No. 2 and focus by 

 moving the small box in and out and also 

 by separating the larger boxes, as may be 

 needed to get size of picture on glass. 

 Focus firmly by the small box holding 

 ground glass. You can hold the larger 

 boxes in position by a cleat and screw on 

 top, and the small box by a screw or 

 thumb screw through side of box No. 2, 

 and tighten it up when focus is just right. 

 John Huffnagle, Belmar, N. J. 



QUICK STOPS. 



There are times in the affairs of photog- 

 raphers, says an exchange, when the unex- 

 pected happens, when plates develop, or 

 prints tone, with a rapidity which puzzles 

 the will, and the '"'rosy darkness" of the 

 photographer's den is stiff with — let us 

 Sc'.y, unofficial expressions. At such crises 

 it is useful to have at hand the right "quick 

 stop," so here are a few. 



Plunged into the solution prescribed be- 

 low the print or plate is checked in its 

 mad career, though, let it be said, these 

 solutions find a use, not in such red hot 

 photography only, but in the leisurely 

 practice of the art as well. There is a sat- 

 isfaction in dumping one's prints into 

 a solution which one knows will arrest all 

 toning action, and allow one, without 

 further bothering about them, to finish off 

 the whole batch. But to details: 

 Developer (pyro, hydroquinone, etc.) — 



Citric acid 5 grains. 



Water 1 ounce. 



Toning (gold and sulphocyanide, etc) — 



Sulphite of soda 5 grains, j 



Water 1 ounce. 



Toning (platinum and citric acid) — 



Carbonate of soda (crystal.) ..10 grains. 



Water 1 ounce. 



Developing P. O. P. — 



Acetic acid 1 drop. 



Water 1 ounce. 



Uranium Intensifier. — Immerse in a 

 large dish of still water. 



Persulphate Reducer. — Ten per cent, 

 solution of sodium sulphite. 



Farmer's Reducer. — Plenty of water. 



This last recipe is, indeed, of almost 

 universal application. A plentiful supply 



