In mixing a solution from a formula, it is a good idea to write the entire formula on the label of the bottle, so that it will be at hand when a new solution is to be made.

By varnishing the label with ordinary negative varnish, it will last a long time, or it may be gone over with spar varnish or shellac, either of which will preserve the label and hold it to the bottle.

Many photographers have dark rooms so situated that there is no way of heating them and so are unable to maintain an even temperature in tray development.

If the developer is at the proper temperature to begin with, the cold bench or sink soon chills it and development is practically stopped.

Keep a couple of bricks on the stove, steam pipes or radiator, and when ready to develop, lay them on the bench with a thin board over them to set trays on, and an even temperature of developer will be maintained and negatives of good strength produced. The best way to maintain an even temperature in developing, however, is to use the Eastman plate tank.

Straight lines are most essential in photographs, and in making interiors, as one is often called upon to do, the light is sometimes so weak that it is impossible to get sufficient illumination on the ground glass to see that the lines are straight. In cases of this kind, by slightly oiling the ground glass, one may be able to distinguish objects even in the darkest corner of a room. When exposure is judged by the ground glass illumination, it must be taken into consideration that the image shows about four times as bright as on the ordinary ground glass.

Camera Craft offers the following suggestions for reducing chalky highlights in enlarging: "In making good enlargements, the hardest thing one has to deal with are harsh, chalky highlights. The remedy is very simple. A thin piece of ground glass is placed next the negative, with the smooth side next to the glass side of the negative. The two are bound together and with a small brush, glycerine is painted over the ground glass where the high-lights are most intense. This will leave a transparent spot that will allow the light to penetrate much more quickly, and much detail will print in the highlights that would not otherwise. By being very careful in using the brush, fine draperies may be printed in this way, with very soft general effects, as the distance between the ground glass and film side of plate allows plenty of room for proper diffusion. The same method can be used to great advantage in contact printing and needs only a trial to convince one of its value.

From An Artura Iris Print By Hubert Bros. Buffalo, N. Y.

From An Artura Iris Print By Hubert Bros. Buffalo, N. Y.

In printing full figures or small heads on rough paper it is often desirable to have the face appear smooth, at the same time allowing the grain of the paper to show in other parts of the print. This may readily be done after the prints are dry by holding same to the light and marking on the back, with a pencil, the outline of the face. By laying the print face down on a piece of glass or other hard substance, the part outlined is gone over with one of the round ended embossing tools until the grain is removed.

This process will be found to be very effectual and the impression made by the pressure of the tool will only show from the hack side.

In cutting masks by hand, do not try to cut to the exact corner and stop or a frayed corner will generally be the result. Cut past the point of the corner and after-wards stick a piece of black paper diagonally across the corners, covering cuts made by the knife. This saves much time, makes a neater job and also strengthens the corners of the mask.

In cutting masks, always use a very sharp knife, lay the mask paper on the film side of a discarded negative so the knife will cut through the paper and into the film, giving a clean edge. One of the wafer Safety Razor blades makes an excellent tool for cutting masks, using same in the handle used to strop it with.

From An Artura Iris Print By Hubert Bros. Buffalo. N. Y.

From An Artura Iris Print By Hubert Bros. Buffalo. N. Y.

January The Only Condition StudioLightMagazine1912 17

Did you remember all your friends at Christmas time?

There are no more appropriate gifts now than photographs, and none that will be more appre-eiated.

Call and see our latest styles or make an appointment by phone.

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

New York, N. Y............Jan. 16, 17, 18

Boston, Mass............Jan. 23. 24, 25

Montreal, Can...........Jan. 30, 31, Feb. 1

Toronto, Can.............Feb. 6, 7, 8

Detroit, Mich............Feb. 13, 14, 15

Columbus, O............Feb. 20, 21, 22

Indianapolis, Ind...........Feb. 27, 28, 29

Minneapolis, Minn..........March 5, 6, 7

Chicago, Ill............March 13, 14, 15

Kansas City, Mo..........March 19, 20. 21

St. Louis, Mo...........March 26, 27, 28

From An Artura Iris Print By L. F. Griffith Salt Lake City, Utah.

From An Artura Iris Print By L. F. Griffith Salt Lake City, Utah.