We have received the following suggestion of a means to facilitate the embossing of prints. Most photographers use a cardboard the size of the embossed portion of the print, which is a trifle larger than the mask used in making the print. This card is of a thickness which will give the desired depth to the embossing. The print is laid face down on the card and a blunt edged tool is run along on the back of the print to press the print over the edge of the card underneath.

The difficulty with this method has been in adjusting the print over the cardboard so the margin will be even between the edge of the print and the embossed line. When the print and card are placed together and held to the light, it is difficult to adjust the card unless the corners of the print have been indicated by pencil lines on the back.

As shown in our illustration, this marking of the print is obviated by cutting triangular openings in two corners of the card, so the corners of the print may be readily located and the card is instantly adjusted for embossing.

It is a simple matter to cut these embossing cards for the various sizes of prints.

June Practical Suggestions Ideas That Have Been Tr StudioLightMagazine1912 110

A photographer uses the following method in making long exposures in printing. Even though the mind is made up as to exactly how much time is required, a person will sometimes forget at what point the exposure began or is to terminate. To avoid this, a small dial with a movable hand is made and attached to a block of wood and placed on the printer. For example, the time required to print a certain negative is forty seconds. The exposure is started with the second hand, say, at ten, and immediately the printer sets the hand on the dial at fifty and is not bothered with remembering when his exposure is to end. When the second hand reaches the point corresponding with the hand on the dial, he has given the time intended and has not had to keep his mind on the exposure.

This method has been found to be very practical.

About nine out of ten photographers make their own enlargements and most of these use the glass top push pin to fasten the paper to the enlarging easel. Anyone having had any experience in enlarging knows that if you stick these pins in the easel when they are not in use and feel for them in the dark when you have the paper ready to tack in place, you will almost invariably knock one or more of them off, and you can never guess within six feet of where they light.

We heard of a man the other day, who hit upon the scheme of tying a fine, stout string to each of the four pins and tying the other end to the corners of the easel. When he wanted a pin, he had only to reach to the corner of the board and follow the string to the end and the pin was always there.

To produce bromide enlargements having a very soft porcelain effect, secure a piece of fine wire screen, about 40 to 50 threads of wire to the inch, and cut in a circle that will just fit inside the flange of the lens. Cut a round opening in the center, about one-fourth the diameter of the lens. If it is not convenient to use the wire screen, a piece of fine veiling may be attached to a rim of cardboard that will fit over the barrel of the lens. The enlargement made through this screen will be very soft and pleasing, and coarse retouching will be very much improved. The same device may be used in making negatives, harsh lines, wrinkles and freckles being greatly softened in the resulting negative.

From An Artura Iris Print By the Larrimer Art Shop.

From An Artura Iris Print By the Larrimer Art Shop.

Marion, Ind.

From An Artura Iris Print By C. L. Venard Lincoln, Ill.

From An Artura Iris Print By C. L. Venard Lincoln, Ill.