A Century Negative Pencil will be found very handy for working on the glass side of a negative. Highlights on the hair and drapery may be very effectively accentuated, the thickness of the glass allowing plenty of room for diffusion. No preparation of the glass is necessary, as the pencil writes on glass the same as the ordinary pencil does on paper. After working on the negative the lines may be softened where they are too strong by going over the work with a tuft of cotton.

It has always been quite a problem in making negatives with white grounds, to secure a white vignette on the plate in the camera. In using a white cardboard vignetter, there is usually a back reflection in the lens from the white cardboard, which most invariably causes a loss of detail in the white draperies.

A method of overcoming this reflection and producing perfect white vignettes is as follows:

Make a frame of heavy cardboard, the shape of your vignetter and about 1 1/2 inches wide at sides and bottom, entire width of frame being about 18 inches, height 9 inches. Cover the frame with

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- about two inches wide.

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It' oubl< (1 \* itli litrlit ing iiinlcr tin- dark-room diM.r. nail a triangular strip of oul in inch from bottom tit' door, strip 1>< ing as long .'is door * I u l« > p1"' "t cloth tn tin- 1 i»t this strip, allowing it tn touch the tliM>r. As it is held awaj from tin- door, it will <iriir on the HiMir ami effectually cut out all lighl without danger of catching when door i^ opened or closed tracing cloth, cutting notches at the top about 1/2 inch deep. Use in a vertical position in front of the lens, and no difficulty will be found in producing perfect vignettes, working either way, from the light or against it. The following diagram illustrates the construction of the vignetter.

From An Artura Iris Print By W.M. Stephenson.

From An Artura Iris Print By W.M. Stephenson.

Atlanta, Ga.

April Practical Suggestions Ideas That Have Been T StudioLightMagazine1912 68

A suggestion is offered for vignetting, where a printer such as the Artura Printer is used. Make a shallow tray, about one-half inch deep, using a clear piece of glass for the bottom. Fill the tray to the depth of about one-fourth inch with the dark sand used by sign painters. Place the negative above the light on the printer and set the tray of sand on the negative. With a small brush the sand is brushed away from the part of the negative that is to be printed, the vignette being made very quickly and changes being made instantly by brushing the sand back again.

When the vignette is made, the tray is placed on the ground glass under the negative. The photographer using this method of vignetting finds it very practical, saving him much time and trouble.

In making bromide enlargements, it is often necessary to hold back a certain portion of the print, owing to the shadows being too deep or undertimed. One of the most simple ways of doing this is suggested by an expert bromide worker as follows:

Glue a circle of opaque cardboard about four inches in diameter to a long strip of clear glass about two inches wide. The glass strip acts as a handle but casts no shadow, and the cardboard circle may in this way be held at the desired point between the lens and enlarging easel and moved back and forth to cover the desired area of enlargement that is to be held back in exposing.

If you are troubled with light coming under the dark-room door, nail a triangular strip of wood about an inch from bottom of door, strip being as long as door is wide. Tack a piece of cloth to the back edge of this strip, allowing it to touch the floor. As it is held away from the door, it will drag on the floor and effectually cut out all light without danger of catching when door is opened or closed.

THOSE old pictures of father and mother are very dear to you - priceless in fact.

Just bear in mind that your children would cherish just such pictures of you.

From An Artura Iris Print By W. M. Stephenson Atlanta, Ga.

From An Artura Iris Print By W. M. Stephenson Atlanta, Ga.

April. Bulletin: The Eastman School Of Professional Photography For 1912

Memphis. Term.............April 2, 3, 4

Atlanta. Ga............April 9. 10. 11

New Orleans, La............April 16, 17, 18

Dallas, Texas...........April 23, 24, 25

San Antonio, Texas.........April 30. May 1, 2

Phoenix. Ariz.............May 7, 8, 9

Los Angeles, Cal.......... . May 14, 15, 16

San Francisco, Cal..... ......May 21. 22. 23

Portland, Ore............May 28, 29. 30

Seattle, Wash.............June 4, 5, 6

Spokane, Wash...........June 11, 12, 13

From An Artura Iris Print By C. L. Lewis Toledo, Ohio.

From An Artura Iris Print By C. L. Lewis Toledo, Ohio.