326 



RECREATION. 



insufficient" light given by even the best 

 of ruby lanterns and ruby windows. 

 Deep ruby is about the worst light 

 by which to develop to that exact point 

 that will give the best printing results. 

 Moreover, -the light undoubtedly harms the 

 eyes. I have used enough ruby light in my 

 dark room to read the print of newspapers 

 by, but 1 to no purpose. The finer, more deli- 

 cate points can not be well enough exam- 

 ined to permit of the best work. If I 

 notice in a landscape that the foreground 

 values do not compare favorably with those 

 of the mid distance, I can apply the proper 

 treatment if- it is apparent. Similarly, if 

 the mid distance is not in harmony with the 

 foreground and distance, that matter is 

 readily changed during development if one 

 can see what is going on. I do not like to 

 be compelled to reduce here and there or 

 intensify or doctor the negative with tissue 

 on account of poor perspective, when, if 

 the dark . room light were adequate, I 

 could ^ have obtained a perfect negative 

 without isuch extra work. Such a negative 

 is worth , having ; one that, bar a few 

 touches of spotting here and there, affords 

 a faultless print. I read that certain dyes, 

 light in color, were, nevertheless, perfectly 

 non-actinic, and that a solution of them 

 used Mh a,, tank before the light would 

 afford- , sufficient light, not so deeply 

 red as the ordinary ruby glass. Follow- 

 ing tijS tjie,. Idea, I secured some eosine and 

 metanrhyellow. Eosine is far the best red, 

 as itls paler than aurine or erythrosine, 

 yet is' safer,' than either of the other darker 

 reds." A weak solution of eosine, with a 

 fair„a,movrnt. of metanil yellow, will make 

 a liiht filter that fully answers the most 

 exacting, dark room requirements, save 

 when color sensitive plates are used. 



First, a tank for the front of the lamp 

 mu'sf^e, had. I made one readily by sepa- 

 rating 2 glasses with half-inch wood strips 

 and making' tight with a glue called secco- 

 tine; which any druggist can supply. To 

 make 1 sure of my work, I heated the edges 

 of the tank and melted yellow beeswax into 

 the joints. The tank has never leaked, and 

 being filled^ with solution, with a little meltr 

 ed paraffirfe/ poured on top, it does not evap-^ 

 oratPxmj^^dt fade appreciably. The solu- 

 tion *JX$f. ^be renewed about 6 times " a 

 yearjor safety, and the tank should always 

 rem^|h^m; trie 'dark room, as otherwise the 

 coloi^w^ill'-fade: The tank fits close to the 

 frorjt' o^f' the dark room lamp, or on fth'e 

 frCrt$; 6f v ,a light-tight' box having a good 

 larfrp -within 1 and proper ventilation. QJ&6 

 ruby" g%"ss* is used, of course ; the tank, 

 or filter, takes its place. The solutions used 

 are as, 'follows : 



i R; ^or' Very" brilliant- light, safe ordinarily 

 a,t 1.2 f del' irorh'the tray : 



Eosine/iv". <-; :'.>. *4 grain '• 



Metanil yellow 6 grains 



.rj Water 40 ounces 



A -jless brilliant one: 



J Eosine % grain 



■ Metanil yellow 3 grains 



: Water. 24 ounces 



, If one feels the need of something not so 

 pale, though a trial will prove the above 

 are safe, as much as l /2 grain of eosine, 6 

 grains of metanil and 24 ounces of water 

 may be used; but the pleasure of working 

 in a light where one can really see the 

 true strength of the various parts of the 

 negative is too great to spoil by returning 

 to "the deep reds. Those who will lay aside 

 .all distrust of the light solution will find 

 ^ comfort and great improvement in their 

 " work by taking it on trial. Paper stained 

 with- the same solutions would appear to 

 work as well, but a friend who preferred 

 ^o try it that way soon adopted the glass 

 ^lter as far the best. Have the body of the 

 Solution a half-inch thick, and it will be 

 about right and wholly safe. I hardly need 

 add that the thicker the filter, the farther 

 apart the glasses holding the solution, the 

 less, will be the resulting light. — B. W. 

 Wordsley in Photo-American. 



EXPOSURE WITH YELLOW SCREENS. 

 \It is particularly during August and Sep- 

 tember that, for landscape work at any rate, 

 -the enormous value of the orthochromatic 

 jipjate" and color screen manifests itself. In 

 ^csprihg and autumn the great beauty of the 

 '-landscape lies not in the thickness and lux : 

 furiance of the foliage as in summer, but in 

 the exquisite tints and delicacy of coloring 

 which differentiate between the various 

 Ktcees-and shrubs. 



'Qne of the questions oftenest asked is 

 f this : Is there any advantage in using, a 

 : yellow screen with an ordinary plate ? No ; 

 -it is possible to use them, but hardly prac- 

 -ticafcle. .: 



.- /An- orthochromatic plate by itself will be 

 * fotind -a ' great improvement on the ordi- 

 nary plate for most • landscapes in spring, 

 j When used with a suitable color screen thn 

 'improvement is carried further. 

 H The correction, however, must not -be 

 overdone. A screen that under ordinary 

 circumstances gives the best result when 

 copying oil paintings, especially those of a 

 pronounced yellow tint, is not usually the 

 best to- -employ on landscapes. The reason 

 is obvious. In landscape, the truer the, ren- 

 dering the better. In copying an oil paint- 

 ing |UGh--, as described, the photographer 

 oftrrr requires not merely to reoroduce the 

 pairitrhgi truthfully, but to counteract and 

 rempVe a fictitious yellowness, which is as 

 much ac drawback to the painting as it 

 would -be. to; the photograph. 



Ifo^-this reason, then, a pale yellow 

 screen rather, than a deep o.ne, is best for 

 landscape work. There are plenty of differ 



