AMATEUR PHOTOGRAPHY. 



81 



which introduces a still greater range. The 

 calculation considers only the mechanical 

 adjustment of the instrument and the plate 

 speed. 



I am not insulting the great body of ama- 

 teurs by suggesting that anyone, even the 

 veriest tyro, would be so fatuous as to use 

 either of the extremes of combination 

 given above. But I know of an actual case,- 

 revealed by a beginner's note-book, in 

 which 2 exposures made within 20 minutes 

 one June evening were as I to 80. The ex- 

 posures' were made from a window, in the 

 hope of catching a fine effect of lighting. 

 On developing the first, sufficient over ex- 

 posure was shown to lose the desired effect. 

 The second exposure was immediately 

 made, and, on development, of course there 

 was not a sign of any fine effect on the 

 plate. My friend was astounded when I 

 pointed out that the second exposure was 

 80 times less than the first.— Amateur 

 Photographer. 



PHOTOGRAPHY IN THE PUBLIC SCHOOLS 

 I do not wish to advocate an additional 

 burden for the already overtaxed brains of 

 school children and make the study of pho- 

 tography in all its various branches obliga- 

 tory. That would probably take from our 

 beautiful art and fascinating science a 

 great deal of its charm. I shall be satis- 

 fied if this article creates an interest in 

 and a discussion of the question. The 

 teaching of the fundamental principles of 

 photography in school, with some practical 

 illustrations, can be made a joyful and use- 

 ful pastime to the little student. 



There is no other educational factor 

 which could possibly have a greater influ- 

 ence on a child's character and faculties 

 than the practical and intelligent use of the 

 camera. It trains the eye early to form a 

 quick judgment of visual objects. It com- 

 pels the child to concentrate its attention. 

 It" forces it to be careful and clean, if it 

 desires excellence and superiority. With 

 advancing expertness and skill, the child 

 will be ready for the scientific instruction. 

 The first want is a compendious book, 

 which sets forth in plain language the 

 great features of the science, without per- 

 plexing the beginner with too much detail. 

 In this respect many of our most popular 

 works are defective. — Johannes Meyer, 

 M. D., in the Camera and Dark Room. 



SINGLE TONE FOR PLATINO. 



Can you give a formula for making 

 Aristo single tone for platino paper? 



Would it be a good idea to take a de- 

 veloping formula, powder the chemicals 

 and mix together, then, when you want to- 

 develop, dissolve the necessary quantity of 



the powdered chemicals in the proper 

 quantity of water? 



F. K. Beek, Galion, O. 



ANSWER. 



The only formula I can recommend is 

 that sold by the American Aristo Company 

 for obtaining black tones without the use 

 of gold first and then platinum. Hypo 

 must be used afterward to fix. There is 

 no combined toner and fixer, if that is what 

 you mean, that I would recommend for 

 platino. If such a thing exists Mr. Tom 

 Pattison, of Jamestown, N. Y., care of 

 American Aristo Company, will tell you of 

 it. 



I do not believe you could mix the va- 

 rious chemicals intimately enough to use 

 portions of powders. You would be likely 

 to get too much of one thing and too little 

 cf another. Some do this sort of thing with 

 drugs and believe it right, but I don't like 

 the proposition. — Editor. 



TOO MUCH EXPOSURE. 

 I am using a 5 x 7 Al-Vista camera, and 

 crown plates. So far I have not been 

 able to make a decent print. I use 

 Solio paper and Eastman's developing 

 powders. I thought I was getting a good 

 camera w 7 hen I bought a ji Al-Vista, yet 

 my plates are yellow ; not clear and trans- 

 parent, as I think they should be. 



C. N. Truman, Ash, Col. 



From your account it would appear you 

 are giving far too much exposure. Wide 

 open lens and bright sunlight would re- 

 quire an exposure of about 1/200 second in 

 your clear atmosphere, and it is a wonder 

 you got anything at all. 



Your camera is all right, as are the de- 

 veloping powders and paper. Try a dozen 

 Carbutt B plates, and when the light is 

 good get a focus with wide open lens ; then 

 stop down to f32. Give 2 seconds in bright 

 light if the scenery is fairly open; one sec- 

 ond if very extended, such as a distant 

 view from an eminence, and 4 or 5 seconds 

 if in the shade and the object is near. I 

 am sure I shall have better reports from 

 you if you follow this advice. — Editor. 



HOW TO PROTECT YOUR FINGERS. 

 Take 5 or 6 discarded 4x5 films, place 

 them in a tray and pour hot water over 

 them, or better still, immerse in a solution 

 of caustic lye for an hour or 2 ; wash, 

 then dry, trim, cut into narrow strips 

 and put in a wide-mouth bottle, and 

 pour in a mixture of 2 ounces of alcohol 

 and 2 ounces of ether. This will readily 

 dissolve the cenuloid. Add l /& ounce of 

 castor oil. This is essential, as it prevents 

 the film from cracking. After the mixture 



