SUN GUNSHOTS 



407 



bulb, controllable from the outside, nothing 

 further than the box, the screen and a door, 

 A, through which to put the printing-frame is 

 necessary. If, however, we have to use gas 

 or an oil-lamp, we shall need some kind of a 

 chimney at E, to lead off the heat, and at 

 the same time prevent the light streaking into 

 the room, and also a hinged flap C, made of 

 a wire frame covered with some opaque paper 

 or cloth and fitting snugly up against the 

 screen B. This flap is operated by a small 

 handle outside, and when the printing frame 

 F, has been put into the box, it can be turned 

 down so as to allow the light to reach the 

 print. The screen, B, serves to diffuse the 

 light and give an even exposure. Of course 

 the door can be at the top or the side, and 

 the whole box can be placed on brackets on 

 the wall, or rested on a table. You will find 

 it a very handy apparatus, also, for lantern- 

 slide making by contact and if your dark- 

 room is large enough to contain it, you cer- 

 tainly should have such a contrivance in it. 



white paper was. With good daylight and 

 stop F. 32 give an exposure of ten to thirty 

 seconds according to the density of the nega- 

 tive. The correct time can be found by ex- 



TO MAKE ENLARGEMENTS. 



One of our readers, Mr. W. A. Mason, 

 tells us how to make bromide enlargements 

 with an ordinary camera and without the aid 

 of any other apparatus than that which the 

 amateur can fix up for himself. The camera 

 used should have a removable back. 



Choose a room which can be made perfect- 

 ly dark. The windows can be blocked up 

 with several thicknesses of brown wrapping 

 paper or with anything that is light-proof. 

 In the window covering make an open space 

 the size of the negative to be enlarged from. 

 Put the negative in a kit made of cardboard 

 or wood. Make this kit fit over the back 

 of your camera so as not to admit any light 

 into the camera except through the negative. 

 If the camera has too short a bellows to make 

 the desired size of enlargement you can build 

 an extension to the back of the camera with 

 cardboard. See that the glass in the window 

 is clean at the opening. Never try to make 

 an enlargement while the sun is shining on 

 the window unless you put a white curtain 

 on outside and away from the window. Place 

 your camera with the back containing the 

 negative to the opening in the window. 

 Block out all light, give the lens a full open- 

 ing and focus on a screen or board to which 

 the bromide paper is to be fastened. A good 

 sized box is as good as anything else to pin 

 the paper to. Cut out a piece of white paper 

 the size of your bromide paper and pin on 

 the box. Regulate the size of enlargement 

 by moving the box back and forth — the 

 further away the bigger the image. Focus on 

 the white paper. Stop down until the image 

 is very sharp. Close the shutter of the lens 

 and pin up your bromide paper where the 



A. CAMERA BACKED UP TO WINDOW. 



B. BOX SUPPORTING BROMIDE PAPER. 



C. BROMIDE PAPER. 



posing on small strips of bromide paper and 

 developing. Develop and fix the paper the 

 same as you would velox, but, of course, in 

 ruby light only. 



MONOTONOUS TRANSCRIPTION. 



The bulk of amateur photographers are 

 apt to fall foul of the difference betwixt a 

 picture true to Nature and a mere transcript 

 of a scene. The man who fixes up his cam- 

 era, gets every leaf and blade of grass as 

 ■sharp as a needle, and takes off a glossy 

 print showing abundant detail, is prone to 

 think he has succeeded in producing a 

 naturalistic photograph. Such a print, although 

 perhaps true from the mathematical stand- 

 point, is totally wrong as a record of visual 

 impression ; it may be an accurate transcript 

 of the objects in front of the camera, but 

 it can never be a sympathetic rendering of 

 Nature. Exact transcriptions may be very 

 desirable in architectural and record work, 

 but the photographer who wishes to achieve 

 a pictorial result ^aims at suppressing detail 

 and getting sentiment into his picture. 



