178 
danger of injuring the print, as the alcohol 
has a toughening effect on the gelatine surface. 
There are some who argue that, “‘regardless 
of the quality of the negative used, the ex- 
posures ought always to be made at the same 
distance from the light.” But by experience 
we have learned that with a thin, weak negative 
a better print can be made by a longer exposure 
at three feet than by a very brief exposure at 
six inches from the same light. Also, that 
with a dense, harsh negative the better print 
is made by working close to the light. When 
one side of the negative prints very dark, the 
other very light, the print will be improved if — 
the exposure is made with the dense part of 
the negative nearer the light, and, if necessary, 
the thinner part of the negative should be 
shielded with a card or other opaque material, 
which should be kept moving slightly to pre- 
vent a sharp line in the print, while a prolonged 
exposure ‘is given the stronger part. Or, by 
cutting a small opening in a cardboard and 
holding the card so the light shall pass through 
the opening and onto any figure or other parts 
of the negative, such parts can be given all the . 
extra exposure they require to secure for them 
the best effect in the print. 
With the metol-hydrochinon in which these 
papers are usually developed, the development 
will continue even after the print is in the rinsing 
water and if the print is a little overexposed it 
will become too dark before the action of the 
developer is stopped. But with a little citric 
acid dissolved in the rinsing water, all alkalin- 
ity carried by the print from the developer will 
be rapidly neutralized and this extra develop- 
ment more quickly arrested. 
Should the print be a little dark, it can be 
transferred from the hypo to a very weak solu- 
tion of red prussiate of potassium; or this 
solution can be applied to the print with a tuft 
of cotton, and when the print is lightened sufh- 
ciently, it should be rinsed in water to stop the 
action of the reducer. High lights can be worked 
on the prints with a fine camel’s hair brush lightly 
charged with the red prussiate solution. The 
general, or the local, reduction of prints is not 
a remedy for overexposure, nor will the prints 
so treated be equal in quality to prints which 
have been correctly timed, but by this method 
many prints can be improved so that they may 
be saved from the waste. 

Bromide and Gaslight Prints in Colors 
Several years ago, the uranium toning process 
had a brief period of popularity as one of the 
first methods for obtaining sepia tones on 
bromide papers; and as there appears to be a 
revival of interest in this process among some 
RECREATION 
workers, a brief description of it is here given, 
with such directions for the after treatment of 
the toned prints as shall make possible the pro- 
duction of pleasing effects in a variety of shades. 
As this is an intensifying process, light prints 
are more suitable for it, those which have been 
fully timed and a little underdeveloped being 
preferred; and they should have been washed 
until every trace of hypo is removed. 
From among the several toning formula, all 
giving practically the same results, the follow- 
ing is selected. Dissolve separately: 
Nitrate of uranium........... 36 grains 
Water! | tS oe ae ee .-. 8 ounces 
Red prussiate of potassium.... 36 grains 
Waters oi sme kn ae ee 8 ounces 
Combine these solutions, and then add 53 
drams of glacial acetic acid. In this bath the 
prints will gradually change from the black to 
various shades of brown and red; the longer 
the toning action, the redder will be the tones. 
The toning can be stopped at any stage by 
rinsing the prints in a tray of clean water. The 
prints should be washed until all yellowness is 
removed from the whites, but no longer, as 
prolonged washing will weaken the tones, and 
if continued long enough will destroy them. 
A wide range of blue and green effects can be 
produced by immersing the toned prints in a 
weak solution of perchloride of iron, and by 
using this in various strengths, from a fraction 
of a grain to ten grains of the iron salts to one 
ounce of water. By toning in the uranium bath 
to several stages and by using the iron solution 
of various strengths, it is possible to obtain the 
colors in a variety of shades. By carefully 
applying the iron solution with a water-color 
brush to those parts where it is desired to alter 
the tones, a number of color effects can be 
executed. 
Should the toning be unsatisfactory, it can 
be removed by immersing the print in the fol- 
lowing solution: carbonate of soda, 1 ounce; 
water, 24 ounces, and then washing the print 
until the alkali is completely removed, when 
the toning can be repeated. 
Uses of the Supplementary Portrait Lens 
Not only for portraits but for any other pur- 
pose, when, with a camera having a bellows 
extension very little longer than .the focal 
length of the lens, or even with a box camera and 
a fixed focus lens, it is desired to work closer 
to the subject than the construction of the 
camera permits, will the portrait attachment 
prove a valuable accessory. With a folding ~ 
camera, which ordinarily one cam work no 
closer than six feet from his gybject, the 
