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RECREATION. 



sity as the rest of the print. After develop- 

 ing rinse well in a bath of water made 

 somewhat acid with acetic acid, and fix in 

 an acid fixing bath, containing alum; or fix 

 in a bath of hypo with a little sulphite of 

 soda and formaldehyde, using say one dram 

 of formaline for every quart of solution. 

 Be careful of this chemical and its fumes, 

 as they are dangerous. Do not let a heavy 

 stream run from a faucet in washing, as it 

 might cause trouble, especially if it falls 

 any distance. 



B. L. Cunningham, Ashland, Ore. 



SENSITIZING AND PRINTING ON LINEN. 

 First thoroughly wash the linen, then 

 soak in the following: 



Water 8 ounces. 



Potassium bromide 45 grains. 



Cadmium bromide 15 grains. 



Potassium iodide 15 grains. 



After drying, sensitize in the dark room 

 in a solution of 



Water 5 ounces. 



Silver nitrate 15 grains. 



Citric acid 15 grains. 



Dry in the dark, and, when printed, develop 

 with 



Water 7 ounces. 



Pyro-gallol 75 grains. 



Citric acid 6 drams. 



Follow with a good washing, when it may, 

 if desired, be toned with a bath made as 

 follows: 



Water 1 pint. 



Ammonium sulpho-cyanide. . . . 187.5 grains. 

 Gold chloride 7 grains. 



Then fix and wash in the customary way. 

 — Exchange. 



SNAP SHOTS. 

 Can you tell me how to cement photo- 

 graphs on to glass and what to use to stick 

 them so they will be smooth and have 

 no air bubbles under them? I have some 

 and it seems that the picture was pasted 

 on the glass and then a piece of cardboard 

 cemented on the back. 



J. E. Brackett, Newport, Mass. 



ANSWER. 



To mount print on glass make a solution 

 of Nelson's X opaque gelatine, 20 grains 

 to each ounce of water, and while still 

 warm immerse the print, face downward, 

 in it. Place the glass in it and after a few 

 seconds bring them in intimate contact. 

 Withdraw from solution, squegee thorough- 

 ly and allow to dry. — Editor. 



experienced in making the print adhere to 

 the mount at the edges. This difficulty 

 may be overcome by applying to the back 

 of the print a marginal line, about one- 

 eighth of an inch, of Le Page's fish glue. 

 The rest of the back of the print may be 

 covered with starch, or any ordinary photo 

 paste, which is quite strong enough to hold 

 down the center of the print, and is ap- 

 plied more easily on a large surface than 

 glue. By this plan a print may be firmly 

 mounted without any danger of its leaving 

 the mount. — Exchange. 



I am in need of a putty, or cement, that 

 will stand the chemicals used in developing 

 solutions, especially metol and hydroqui- 

 none. Can you help me out through your 

 photographic department ? 



Handy H. Bowen, Chicago. 



ANSWER. 



You do not state purpose to which you 

 will put the putty or cement. If for 

 wooden trays, melt paraffin in a cup and 

 brush over the wood with a short, stiff 

 brush ; then pass a laundry iron over it, 

 forcing it into the pores of the wood. As- 

 pinwall's bath enamel is also excellent. 



^ The League of Long Island Photographic 

 Clubs held a meeting in the rooms of the 

 Brooklyn Academy of Photography January 

 14, delegates from the various clubs being 

 present. An interchange of lantern slide ex- 

 hibits among the various clubs has been ar- 

 ranged. The first of these was held in the 

 rooms of the Brooklyn Camera Club, the 

 slides being the work of the members of 

 the Department of Photography, Brooklyn 

 Institute of Art and Science. The slides 

 were excellent and the attendance was large. 

 The League will arrange for an interchange 

 of prints in the near future. 



John J. Tresidder, Brooklyn, N. Y. 



In mounting prints on thick paper, such 

 as royal bromide, difficulty is sometimes 



_ To make lusterless black varnish for op- 

 tical instruments, rub fine lampblack with 

 shellac varnish. If the surface of the var- 

 nish when dry shows anv luster, it con- 

 tains too much shellac, and should be di- 

 luted with alcohol. It is said that this is a 

 safer varnish to use in photographic dark 

 slides than any kind containing turpentine. 

 — Exchange. 



In dull and cold weather when it is found 

 necessary to leave unfinished prints in the 

 frame overnight, one spring should be loos- 

 ened; this simple precaution will often pre- 

 vent the negative from breaking. — Ex- 

 change. 



Will readers of Recreation please tell 

 me which 4x5 camera they consider the 

 best for an amateur? 



Earl Dunn, Iowa Falls, la. 



