Brief General Instruction.

662. Printing

Printing. A good rule to follow is to sort your negatives. When about to print from them, print the heavy ones first, using Special Portrait Velox; then for thinner plates use "Carbon" or "Regular."

663. When making exposure be sure to cover the box containing the paper, as it is very sensitive to light, which makes it an easy matter to ruin an entire box of paper, by allowing the box to remain uncovered during a single exposure.

664. Proper Light For Developing

Proper Light For Developing. While developing papers are not nearly as sensitive to actinic or white light, as dry plates, it is still necessary that a certain amount of precaution be taken. A strong yellow light, or dim lamp light is perfectly safe, providing it does not strike directly on the paper. There is absolutely no need for developing by a dark room lamp. Always load the printing frame and develop in the same degree of light.

665. Printing Light

Printing Light. While it is perfectly practical to make prints by the use of daylight, it is preferable to use artificial light - a candle, kerosene lamp, or electricity. Artificial light is more steady and even than daylight. Daylight at 12 o'clock noon is, of course, much stronger that at 4 o'clock in the afternoon. Therefore, it makes a vital difference as to the length of exposure, while with artificial light the duration of exposure remains practically the same at all times.

666. Exposure

Exposure. Length of exposure depends, of course, on the density of the plate and the distance between the negatives and the light. For example: When printing from a medium strength negative, the exposure should be eight seconds under a 16 candle-power incandescent light, at a distance of twelve inches from the light. If the negative is placed at a greater distance from the light, the time of exposure will increase proportionately, according to the following ratio: A soft negative which prints in four seconds, at twelve inches distance, will require sixteen seconds at twenty-four inches distance.

667. Although Velox paper can be developed with solution made from the contents of prepared tubes, which simply requires the addition of water to the powders (the developing solution put up by manufacturers is good), yet the preparing of your own developers will prove extremely advantageous. You may use the formula which accompanies each package of paper, or the following will be found to give good results:

668. Metol-Hydroquinone Developer.

If soda crystals are used double the above quantity will be required.

669. Dissolve the chemicals in the order indicated in the formula. For use, dilute with an equal amount of water.

670. Remember hydroquinone gives contrast; metol gives detail, even to flatness, so if, with the correct exposure, your results are flat, the addition of a trifle more hydroquinone will give more contrast.

671. When once the correct exposure necessary for the negative you are printing from is ascertained, it is a good plan to write on the back of the negative the number of seconds required to print. Thus, if you have occasion to again print from this plate, you will know the exact exposure without experimenting.

672. Where dense negatives are to be printed from, it is best to use your developer almost full strength and employ Special Portrait Velox paper. It is well to print from heavy negatives first and when you come to the thin plates dilute the developer one-half with water and use Carbon Velox. The more dilution, the more contrast can be produced; but avoid the extreme, as there will be danger of running into olive or green tones.

673. The addition of a few drops of a ten per cent. (10%) solution of bromide of potassium will aid in obtaining contrast. If the prints do not develop clear, bromide should be added until they do. Care must be taken not to add too much bromide, because green or olive will be produced, and to remedy it, more developing solution will have to be added, or a new bath prepared.

674. Add but a drop of bromide at a time, or the green tones produced will necessitate more tampering with the bath.

675. It is well to place prints in an acid clearing bath before fixing. This bath will prevent mealiness and mud-diness on the surface of print. Make clearing bath as follows: To two quarts of water add four drops acetic acid. Allow prints to remain in this bath one minute, then place in the fixing bath for at least twenty minutes.

676. For the fixing bath use the following:

ACID HYPO FIXING BATH.

Dissolve:

677. When thoroughly dissolved add the following hardening solution, dissolving the chemicals separately and in the order named:

Note. - Should prints bleach in this hypo bath make up a new solution, using half the amount of acetic acid.