To make lantern slides is no more difficult than to make copies, the only practical difference being that a lantern slide is made from a negative by transmitted light whereas a copy is made from a print by reflected light.

If the slide is to be made of the same size as the negative, contact exposure can be made in a printing frame by artificial light in a dark room. In this case extreme care must be exercised that the delicate surface of the emulsion is not injured by rubbing or scratching when placed in contact with the negative. Both the negative and the sensitized lantern slide plate should be carefully dusted, otherwise transparent spots will show. The light used may be an oil lamp, a gas jet or an incandescent bulb, and all extraneous light must be carefully excluded to avoid fogging.

Exposures should also be made at a uniform distance from the light as this will assist in timing correctly. If one exposure were made at a distance of one foot from the light and the next at say. two feet, it would be more difficult to expose correctly, as light is four times as weak at a distance of two feet than at one foot from its source, nine times as weak at three feet, sixteen times as weak at four feet, and so on.

No apparatus is required for making contact slides other than a printing frame and a convenient arrangement for turning the light on and off. The Folmer & Sehwing lantern slide printing frame is recommended as most convenient and practical for making lantern slides by contact exposure. When making slides by contact, where the negative is larger than the slide, only such portions would be reproduced as come within the size of the Lantern Slide Plates.

Where slides are to be made from negatives having a larger or smaller area than the slide, the exposure would necessarily be made by projected light, using a lens to secure an image of the required size. The apparatus used is similar to that for making enlargements except that in making reductions, the distance between the lens and the negative is greater than between the lens and the sensitive plate, whereas in making enlargements the distance between the lens and the negative is less than the distance between the lens and the sensitized paper - the scale of reduction being inverse to that of enlargement. It is obvious that the longer the focus the greater will be the distance between the negative and lens and the lens and plate, and the greater the distance the greater the diffusion of the light and the longer the exposure. The rule is that light decreases in proportion to the square of the distance. Slides can be made with the regular enlarging apparatus, using a short focus lens. The Graflex Enlarging and Reducing Camera is well adapted for this work and as the speed of a lantern slide plate is about the same as of Bromide Paper, slides can be made either by daylight or artificial light as preferred. Artificial light is more uniform than daylight and for this reason less variation of timing would be required when making exposures. It should be borne in mind that any light which is of a yellow color will work slower and give more contrast than a light in which the violet predominates. When using an artificial light without condensing lenses one or two thicknesses of opal flashed porcelain glass should be used to diffuse the light.

From An Etching Black Platinum Print By The Misses Selby New York, N. Y.

From An Etching Black Platinum Print By The Misses Selby New York, N. Y.

In making exposures, accuracy in timing is desirable. An over exposed or over developed slide would show dark on the screen when projected in the lantern. The highlights of a good slide should be clear and the half tones and deep shadows should be snappy with well defined gradation. Many successful lantern slide workers are accustomed to slightly reduce the density of practically all slides for the purpose of clearing up the highlights, using for this purpose a weak solution of ferri-prussiate which is flowed over the entire plate or may be applied locally with a soft brush. A half inch Siberian wash brush is very useful. The plate should be reduced after fixing and before washing thoroughly as the Hypo remaining in the emulsion is sufficient to secure the desired clearing of the highlights. Care must be exercised in doing this as too strong an application of the prussiate would act too quickly and the slide would be over reduced and ruined.

For sepia tones the Hypo alum-toning bath will give very beautiful results.

The beauty of lantern slides may be enchanced by coloring if skillfully done. For this purpose transparent water colors should be used. A frame something like a retouching easel would be a convenience in holding the slide to be colored. Opaque or body colors should not be used as these do not transmit the light. The colors giving best results are Velox Transparent Water Colors which are particularly recommended for this purpose.

From An Etching Black Platinum Print By The Misses Selby New York. N. Y.

From An Etching Black Platinum Print By The Misses Selby New York. N. Y.

The completed slide should have a suitable mask and be protected by a cover glass to which it is bound with lantern slide tape. When showing slides in a lantern, the sky side is down and cover glass, designated by a small white sticker, is next to the light.

Business Women

Photography may still be looked upon as a man's profession, but woman has long ago taken her place in the photographic world and been recognized as a very important factor in the future development of the photographic business.

We feel sure that our readers will be interested in the work of women who have made a business as well as an artistic success of photography, and we take especial pleasure in offering in this issue of Studio Light a series of illustrations from the studio of the Misses Selby, who for a number of years have been prominent among New York photographers.

It is only reasonable to believe that in many ways a woman is better fitted to produce really artistic pictures of women and children than is a man, for who knows more of her ways than one of her own number, and who is better able to apply this knowledge to the making of photographs?

To be sure, the greater number of our profession are men, but there is probably a greater proportion of women photographers who have gained distinction by reason of the real artistic value of their work, and the Misses Selby are of this number.

Coming to this country from London, England, these young women opened their first New York studio at Fifth Avenue and 18th Street, but a little later, moved to 292 Fifth Avenue, and about two years ago, reached their present location at 628 Fifth Avenue, each of these changes naturally being made as the result of their high class clientele gradually moving uptown.

The best class of New York patrons are very discriminating, and the Misses Selby, like many others of our best photographers, have found Etching Black and Etching Sepia Platinum prints from Seed Plate negatives, not only best for expressing their own individuality, but most pleasing to their customers.

While much of the beauty of the original prints is lost in reproduction, still one cannot but appreciate the quality and profit by the study of the work of the Misses Selby which we are privileged to reproduce in this issue of Studio Light.

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