428 



RECREA TION. 



ure, add the necessary accelerator and con- 

 tinue development. I have found few that 

 required more than the half quantity of ac- 

 celerator, or cutting off exposures for spe- 

 cial treatment. If the full quantity of accel- 

 erator is used in the first instance several 

 films are sure to be lost through over-ex- 

 posure. After fixing put the whole strip in 

 a large bucket or tub and wash in several 

 changes of water for 2 hours, occasionally 

 stirring the films. 



A convenient method of washing is to 

 stand the bucket containing films in a sink, 

 attach a piece of rubber hose to the water- 

 tap, and reaching to the bottom of bucket, 

 arranging it round the sides, so that when 

 the tap is slightly turned on, a miniature 

 whirlpool is formed. This keeps the films 

 gently moving, and causes a continual 

 change of water. 



When washed, pin the strips of film to 

 pieces of thin wood picture frame backing, 

 each piece just large enough to take 2 strips 

 of 6. These are most convenient, being 

 light yet strong, and the films dry quickly 

 on them. When dry, cut the strips up, and 

 store them in a film storage album. 



I can recommend these methods, and to 

 those who, so far, have only " pressed the 

 button " and left others to " do the rest," 

 I would say give developing a trial, and not 

 only will they find a saving in expense, but 

 they will get double the pleasure from their 

 hobby, and, I am sure, in many cases, better 

 results, as more trouble will be taken where 

 love and not money is the motive. The 

 great point is to be sure and give sufficient 

 exposure, and not to use the instantaneous 

 shutter unless the light is such as to insure 

 success. To facilitate this, keep a careful 

 record of exposures, and always use it as a 

 guide. 



SINGLE TONER. 



c. T. meacham, in Professional Photographer. 



Many photographers, thinking the single 

 toner is a combined bath in which prints are 

 fixed and toned at the same time, have con- 

 demned it without a trial. This is a mistake, 

 as prints are toned first and then fixed. The 

 single toner, if properly handled, will give 

 results fully equal to the finest carbons 

 made; saving all the delicate half-tones in 

 the high lights, giving depth and brilliancy 

 to the shadows, pure whites, and a perma- 

 nent print. 



First, the printing should be fully as dark 

 as for double toning. Print until the half- 

 tones begin to show strongly in the strong- 

 est high lights. Too light printing gives 

 weak and bleached looking prints when fin- 

 ished. 



Prints should be washed in 8 to 10 changes 

 of clear water before toning; to thoroughly 

 remove all free silver, handle prints over 

 in each wash water. Letting prints lie in 

 running water for an hour without handling 



is not so good, as some prints will not thor- 

 oughly wash. 



After washing, tone in the following bath: 

 water, 30 ounces ; single toner, 2 drams ; 

 aristo platinum, 1 dram. Prints should 

 be toned in this bath until all traces of red 

 have disappeared from the deepest shadows. 

 If the toning is not carried fully this far you 

 will not get pure whites or clear shadows, 

 but prints will come out, after fixing, a dirty, 

 muddy green color, with no brilliancy. 



Throw prints from toning bath into clear 

 water until all are toned. Then wash in 4 

 changes of clear water, handling prints over 

 in each water to thoroughly eliminate all 

 acid before fixing. Then fix in a plain hy- 

 posulphite of soda bath, 18 grains strong to 

 the ounce, hydrometer test r for 20 minutes, 

 handling prints during the fixing to insure 

 perfect results. After fixing, wash in 10 to 

 15 changes of clear water. 



In many places the water is impure and 

 red spots make their appearance. In trouble 

 of this kind, add to every gallon of the first 

 wash water 3 ounces of a saturated solution 

 of sal-soda. Handle prints over in this 

 water 5 to 8 minutes. It will do little good 

 in any but the first water. 



If prints, when put into the toning bath, 

 bleach or cut out the high lights, spoiling 

 the delicate half-tones, the addition of one to 

 2 drams of aristo platinum to the toning 

 bath will remedy the trouble. 



Prints should be thoroughly washed in 4 

 changes of water after toning, before fixing; 

 as the toning bath is very acid, and if this 

 is carried into the fixing bath, it is liable to 

 cause muddy whites and produce prints with 

 no brilliancy. 



Never use your platinum tray for anything 

 but single toner and platinum toning. 



In working aristo junior and toning with 

 single toner, print and handle just the same 

 as if you were working aristo platino. This 

 will give you an olive black tone, and when 

 burnished the prints are much finer than 

 warm tones toned in gold. 



When bronzing shows in the shadows, af- 

 terprints are finished, the best remedy found 

 is the sal-soda in the first wash water. It 

 softens the emulsion enough to allow the 

 silver to wash out more freely in the heavy 

 shadows, as well as allowing the toning bath* 

 to penetrate the heavy bronzed shadows, and 

 thus remove the trouble. 



Your toning bath can be strengthened by 

 adding 2 drams of aristo platinum and one 

 dram single toner, always watching your 

 bath to see that it is working right. 



All wash waters and toning baths should 

 be kept at a temperature of 65 to 70 degrees 

 during cold weather. 



Last, but not least, use judgment in all 

 your work and don't condemn toning solu- 

 tions, paper, etc., because you do not have 

 success. Remember others are working 

 them successfully, and you should be able to 

 do the same. 



