It is understood that a photographic skylight is a large opening in the side of a studio, covered with glass to keep out the weather and at the same time, let in the light. It is also understood that the greater the volume of light entering this room, and directed on the subject under the light, the shorter will be the exposure necessary for a good negative, it being understood that the light should always be properly balanced.

Following this line of reasoning, we naturally come to the conclusion that there is no need of having the light unless we use it, and this brings up the point of our contention and shatters a prevailing fallacy. Many operators believe they cannot work out under the skylight with a large volume of light and produce low toned effects.

This is a fallacy, because the best low toned negatives are not made in a dark corner of the studio, as some suppose, but under the same conditions of light as negatives of a higher key of lighting. The trick is in the exposure and development of the plate, as we will show by our illustrations.

The farther you get away from the source of light, the greater will be the loss of modeling, and all good negatives must be well modeled. It is the modeling, in fact, that makes the negative. A long exposure in a dark corner of the studio where the light is flat, does not produce a negative of the proper modeling essential to good printing quality; therefore, it would be necessary to resort to local reduction and retouching to obtain even passable printing quality.

More Light Shorter Exposures Better Results StudioLightMagazine1913 51

A.

More Light Shorter Exposures Better Results StudioLightMagazine1913 52

B.

More Light Shorter Exposures Better Results StudioLightMagazine1913 53

C.

Our illustration A shows the subject directly under the light at a distance of not more than four feet from the side light. The light is well balanced, it was a dull day, and the normal exposure was one and one-half seconds. Illustration B shows the result obtained with normal development, the negative being in a high key, such as would be made for ordinary clean, bread and butter photographic work.

Illustration C was made under the same conditions without moving the subject or changing the light in any way, the exposure given being two and one-half seconds and the negative developed to retain the same good modeling in a lower key.

The procedure is simple, the method being as follows : First of all, the negative must have a slightly longer exposure for low toned effects, the additional time being about as given for examples above. The regular A, B, C Pyro developer was used, in which the C solution is the Carbonate of Soda. To 7 ozs. of water, add 1 oz. of A, 1 oz. of B, but instead of one ounce of C, the development is started with one-fourth ounce of C, one-fourth ounce more being poured into a small graduate and placed where it may be had to add to the developer later on.

The plate develops slowly with this small amount of carbonate in the developer, but it will be seen that nothing is lost, the lighting merely being held down to a lower key and the highlights being just a trifle weak. When the image is well advanced and the shadows have been defined, the additional one-fourth ounce of carbonate solution is added to the developer, the highlights will immediately begin to snap up and the negative is taken out of the solution and placed in the fixing bath.

The result is a perfectly modeled negative in a low key, and there is quality and flesh tone - not flatness.

Customers are demanding more of the photographer these days, and it is needless to say that if a perfect negative can be secured in one or two seconds under the light, by the photographer who knows what the light is for and how to handle it, that photographer will have a decided advantage in his favor. He will secure better expressions and please a greater number of subjects, will lose fewer plates because of movement and will gain a reputation for being modern in his methods, when compared with the man who is afraid to work under his light.

Note - When Eastman Tested Carbonate of Soda is used in the Seed A, B, C Pyro developer, same should not be over 40 hydrometer test, or one ounce to sixteen ounces of water for the C solution instead of two ounces of other makes of Carbonate of Soda.

Sepia Tones With Hypo-Acid Method

As a sepia toning method the greatest objection to Hypo-Alum has been the length of time necessary to get the tone and the excessively hot bath in which one has been compelled to handle the prints. These objections have both been overcome in the following Hypo-Acid toning method, which we have recommended for sepia tones on Artura Iris and which has met with the approval of the great majority of those who have tried it out.

Any Hypo-Alum toning bath is practically automatic, as far as the resulting tone is concerned, where prints have received identical exposure and development, and the same can be said of the Hypo-Acid toning method. However, prints which have received over-exposure and under-devel-opment will be warmer than prints which have received proper exposure and full development, and in this way only can the tone be varied.

From An Etching Black Platinum Print By Matzene Los Angeles, Cal.

From An Etching Black Platinum Print By Matzene Los Angeles, Cal.

From our own experience and the satisfactory reports which have reached us from all parts of the country, it is our opinion that the best results are secured from Artura prints which have been exposed so that the full time of development may be given, the print coming to a pause or stop. To force development will produce chemical fog resulting in muddy sepia tones.