984. Rinsing

Rinsing. Always rinse slide between development and fixing.

985. Dusting

Dusting. Remember that both negative and lantern-plate must be carefully dusted before exposing, when making a contact slide.

986. When To Stop Development

When To Stop Development. Development for black tones should be carried on until the high-lights begin to cloud. If the slide has been correctly exposed this will give the correct density.

987. Black Tones

Black Tones. Short exposure and quick development give black tones.

988. Applying Developer

Applying Developer. Always pour the developer directly on the plate without previously soaking in water.

989. Thin Slides

Thin Slides. Thin slides are generally caused by under-development.

990. Flat Slides

Flat Slides. If the image comes up too quickly in the developer, the resulting slide will be flat and lacking in contrast.

991. Warm Tones

Warm Tones. Prolonged exposure and restrained developer give warm tones.

992. Varnishing The Binding

Varnishing The Binding. The binding of a lantern-slide may be protected by painting over with shellac varnish.

993. Warm Slides Before Mounting

Warm Slides Before Mounting. Slides should be warmed slightly, so that they will be thoroughly dry before mounting and binding.

994. Slides From Flat Negatives

Slides From Flat Negatives. Plucky slides can be obtained from thin or flat negatives by using slow plates, slightly under-exposing, and using a diluted developer.

995. Developing Light

Developing Light. Rapid lantern-slide plates can be manipulated in yellow light; a thickness or two of yellow post-office paper is sufficient.

996. Sorting Negatives

Sorting Negatives. Remember that a great deal of time is saved when making a large number of slides, by sorting your negatives into batches of approximately similar density.

997. Slides From Hard Negatives

Slides From Hard Negatives. Slides made from hard, contrasty negatives, should be slightly over-exposed and developed quickly.

998. Pin-Holes

Pin-Holes. Pin-holes can be touched out in lantern-slides with a sharp pointed pencil, holding the pencil in a vertical position, with a dotting action.

999. Making White Ink

Making White Ink. White ink for writing on slides can be made by mixing artist's zinc-white with water. About GO grains of gum arabic should be added to every ounce.

1000. Reducing

Reducing. To reduce over-developed slides, take two ounces of 10% solution of Hypo and add 10 drops of saturated solution of Red Prussiate of Potash (Potassium Ferricyanide). Place the slide directly in this immediately after coming from the Hypo, and watch the reducing carefully. Remove as soon as reduced sufficiently, rinse, and return to the Hypo for five minutes.

1001. Slide Over-Exposed

Slide Over-Exposed. When a slide is overprinted, by the time the high-lights are sufficiently strong the shadows will have become too dense or clogged. If, on the other hand, the shadows have not attained sufficient density, when the high-lights have their proper strength, and the shadows appear veiled, rest assured that the slide has been over-exposed.

1002. Wash Thoroughly

Wash Thoroughly. Lantern-slides must be thoroughly free from Hypo or trouble will arise.

1003. Developing In Cold Weather

Developing In Cold Weather. ln cold weather it is advisable to warm the developing tray by pouring hot water into it before development.

1004. Sulphide Toning

Sulphide Toning. The sulphide method of toning Bromide paper can also be applied to lantern-slides with very good results.

1005. Storing Slides

Storing Slides. Lantern-slides should be stored in a warm, dry place; otherwise they are apt to absorb moisture.

1006. Distinguishing Film Side

Distinguishing Film Side. The emulsion on a lantern-slide plate being very thin and very glossy, it is sometimes hard for the beginner to distinguish the glass side from the film side. By breathing on both sides of the plate it will be no trouble to judge correctly. The glass side will become dulled by the moisture, but the film side will show no change.