AMATEUR PHOTOGRAPHY. 



409 



lantern during the first few moments of de- 

 velopment. This will give you more bril- 

 liant negatives. 



To reduce the density or hardness of a 

 negative, immerse it in a solution made 

 by mixing equal parts of the following : 



No. 1. 



Red prussiate of potash 1 ounce 



Water 20 ounces 



No. 2. 



Hyposulphite of soda 1 ounce 



Water 20 ounces 



Several negatives may be reduced with 

 the same solution. If but little reduction is 

 needed, reduce the solution by adding 

 water. Not necessary to wash before re- 

 ducing. 



FIXING BATH. 



Hypo 2 J / 2 pounds 



Alum 2 ounces 



Water 4 quarts 



Leave the negative a few minutes longer 

 in the bath than is required for fixing. 

 This is important, as the permanency of 

 the negative depends on it. Don't use a 

 flat tray to fix in ; it causes spots and dirt. 

 Use a grooved box. 



The fixing bath used by Mr. M. R. 

 Hemperley is strongly recommended. It 

 hardens the film, clears the negative, and 

 gives good color. 



Thirty-two ounces sulphite of soda (hy- 

 drometer test 60), add slowly to this one 

 ounce sulphuric acid and 8 ounces solution 

 of chrome alum (hydrometer test 60), then 

 add the whole to 2 gallons saturated solu- 

 tion of hypo, and it is ready for use. 



When the negative comes from the fixing 

 bath with plenty of detail, but is thin and 

 semi-transparent, it can be improved by in- 

 tensification. Negatives to be intensified 

 should always be first thoroughly well 

 washed. After fixing and washing, im- 

 merse in a tray containing the following : 

 one ounce each of bichloride of mercury 

 and potassium bromide, dissolved in 32 

 ounces of water. Keep in motion until the 

 film is evenly whitened, then rinse and ap- 

 ply a solution of sulphite of soda, 1 ounce 

 to water 10 ounces. For slight intensity, 

 use above solution diluted to suit the case. 

 — The Professional and Amateur Photog- 

 rapher. 



make negatives that were all right, appar- 

 ently — they always looked to have plenty 

 of strength, vigor, etc., — but what we were 

 after were negatives that would produce 

 prints. We do not consider a negative of 

 any value that will not yield a satisfactory 

 print ; therefore, we never decide on the 

 vaiue of a negative, in experimenting with 

 developers, until we have the finished print 

 from the negative before us. 



We have tested, during the last 5 years, 

 all kinds of developers. We have tested 

 every new developer that has been put on 

 the market. We have produced negatives 

 with all that were beautiful to look at, but 

 the majority we found useless when we 

 came to get our prints out. 



We finally concluded there is nothing 

 like pyro, and we know the formula we 

 have been working with a long time is an 

 excellent one. We have found no other 

 developer to equal pyro for all kinds of 

 work and uniformity of results. 



The formula here given, if properly 

 handled, will give negatives of the finest 

 printing qualities for Aristo Platino : 



No 1. 



Water 64 ozs. 



Carbonate potash 2 l / 2 ozs. 



Sulphite of soda crystals (hy- 

 drometer test 40) 10 ozs. 



To develop : No. 1, one ounce ; water 3 

 ounces ; dry pyro, 16 grains. We use the 

 pyro dry because we always get the full 

 strength of it, consequently more uniform 

 negatives. 



We use 2 trays in developing, one of 

 them containing the normal developer as 

 given above ; in the other tray, the same 

 developer, but with double the quantity of 

 pyro. We start our plates in the normal 

 developer, and after the detail is well out, 

 if it is not strengthening up properly, we 

 immediately transfer it to the tray with the 

 double quantity of pyro and keep it there 

 until the proper density is acquired. 



This developer works equally well on 

 Seed, Cramer, Hammer, or Climax plates, 

 giving clear, transparent shadows, high 

 lights, with all the delicate half-tones, 

 which do not print hard or chalky ; and 

 negatives strong but not hard, brilliant and 

 full of detail. — The Professional and Am- 

 ateur Photographer. 



PYRO DEVELOPER. 



In response to an inquiry as to what de- 

 veloper we use, would say we are now 

 using a developer that suits us better than 

 anything we have ever seen for general 

 results. 



Of course, we have always been able to 



A PUZZLED, PHOTOGRAPHER. 



I am told the following is true. One can 

 perpetrate such outrages on the photog- 

 rapher if he feels like it, -but it seems to me 

 a mean thing to do, and the fellow ought 

 to be made to pay for the damage. I have 

 long advocated the use of a moderate solu- 

 tion of quinine in the studio when certain 

 ungovernable high lights had to be dealt 



