3 28 



RECREATION. 



SNAP SHOTS. 



What is the best formula of developer 

 for giving great contrast? 



J. R. Peterson, Portland, Me. 



ANSWER. 



The greatest possible contrast can be 

 secured with hydroquinone. The follow- 

 ing is a good single solution developer: 



Water 10 oz. 



Sulphide soda 4 



Hydroquinone 200 grains 



Caustic potash 200 



Yellow prussiate potash 120 



Dissolve in order given. Old and new 

 developer in equal proportions give ver.y 

 dense negatives. Bromide of potash will 

 increase this tremendously. If you want 

 black and white results use a few drops of 

 10 per cent, bromide potash solution. Two 

 solution developer: 



1 Water 16 oz. 



Sulphite soda crystals 2 



Hydroquinone 120 grains 



2 Water 16 oz. 



Carbonate potash 1^/2 



For great contrast add bromide of potash 

 16 grains to 1. To use take one ounce each 

 of 1 and 2 and 1 ounce of water, making 3 

 ounces in all. If iced this developer will 

 give as much contrast as anybody will 

 ever look for; too much for most work. — 

 Editor. 



To prepare the dark room for a few 

 hours' work, be sure to wash thoroughly 

 your washstand, sink, or whatever you 

 may use, with cold water. If there is 

 no carpet to hinder, don't be afraid to 

 pour some on the floor, as it will make 

 the room much cooler. Cool the trays 

 by dropping them into cold water, but be 

 sure to keep your developing tray separate 

 from the fixing tray. On the warmest 

 days I am not troubled with frilling of the 

 film. After closing the door of the dark 

 room, wait a few minutes until your eyes 

 become accustomed to the dark before 

 lighting the lamp, and you may find the 

 little streak of light that made you that 

 foggy plate. 



Care is the rule for succe c s. 



I am deeply interested in Recreation, 

 and especially in amateur photography. 

 Clyde E. Brobst, Canfield, Ohio. 



In using solio paper and I. X. L. toner, 

 the film rubs off at the least touch and 

 sticks to the ferrotype plate. What is the 

 cause of this? 



W. L. Brubaker, Johnstown, Pa. 



ANSWER. 



The toner you use is probably alkaline 

 and attacks the gelatine on the Solio pa- 



per. It would be best to change paper if 

 you must use that toner, or change the 

 toner if you like the paper. If you will 

 do neither, add a few drops of a 10 per 

 cent, solution of formaldehyde (50 minims 

 to an ounce of water practically) to each 

 toning bath. Two drops to an ounce of 

 bath will do. It will harden the gelatine 

 so you can boil your prints if you want 

 to, handle them freely, and have no trouble 

 stripping them from the ferroplate, if it is 

 clean. — Editor. 



Although the makers of Aristo, Jr., do 

 not advise the use of combined baths, if 

 the following recipe is used the operator 

 will meet with success: 



Warm water 50 ounces. 



Hypo '. . . . 8 " 



Sulphocyanide of ammonium.. 1 " 



Acetate of lead 17 dwt. 



Citric acid 5 " 



Powdered alum 5 " 



Chloride of gold 7 grains. 



Let it stand 24 hours and filter or de- 

 cant off. Toning will take 3 to 4 minutes. 

 Harry Jackson, Pine Plains, N. Y. 



A developer which has been used with 

 success for under exposed plates is given 

 in the following formula: 



Water 1,000 cubic centimeters. 



Metol 4 grammes. 



Hydrochinon 2 



Sulphite of soda . . 60 



Carbonate of soda 60 



This solution is to be recommended, as 

 it will keep a long time and does not stain 

 the plate. — Scientific American. 



What is to prevent all the plates in a 

 magazine camera becoming more or !ess 

 exposed during the exposure of one? 



P. R. Finlayson. 



ANSWER. 



The plates should be separated by a 

 blackened sheet of metal called a septum. 

 There are many forms of septum, a con- 

 venient one being a sort of carrier into 

 which the plate is slipped. — Editor. 



Read the offer of a Scholarship 



in the . . . 



NATIONAL 



ROUGH-RIDER MILITARY 



ENCAMPMENT, 



on page xxxvi of this issue of 

 RECREATION. 



