Frequently it is necessary to do work on both the film and the glass sides of a negative in order to emphasize some quality or effect an improvement.

It is customary to flow the glass side with a matte varnish or to cover the back with tracing cloth or tissue paper and work on this with stump and crayon.

Satisfactory contact prints may be made from such negatives, but trouble arises when they are enlarged by artificial light, for the strong condensed light will show up most unhappily the retouching and all unevenness in the grain of the varnish.

Diffused daylight does not produce sharp shadows, and when enlarging with such illumination the above difficulties are not so much in evidence, but as most of us employ artificial light a remedy will be welcomed.

A prominent professional in commenting on such difficulties offers a method for enlarging from worked up negatives that seems most practical.

He stated that the grain of the matte varnish could be easily eliminated by the use of chiffon, and we will describe his method later, but he found it rather difficult to overcome an unevenness in the deposit of the varnish. As many of his negatives were used for enlarging he discarded the varnishing the back of the negative, and instead varnished a sheet of clear glass, which was then bound in contact with the negative, and even then only about two out of a dozen were sufficiently perfect in surface for the purpose. He later found the remedy in the preparing of his own ground glass.

From An Artura Iris Print By O. C. Conkling St. Louis, Mo.

From An Artura Iris Print By O. C. Conkling St. Louis, Mo.

His method is to select two sheets of clear glass, and rub them together with exceedingly fine carborundum powder moistened with water, interposed.

He states that in four or five minutes you can produce two perfect surfaces with an exceedingly fine grain, and with sufficient tooth to hold any amount of lead or crayon.

This ground glass is placed in contact with the back of the negative with the ground surface out as then there are two thicknesses of glass between the face of the negative and the ground surface.

With this condition when the film of the negative is accurately focused the ground surface is out of focus, and the grain diffused; it is perhaps not necessary to state that a lens with a fairly large working aperture should be employed.

In cases when the negative demands emphasis in the nature of sharp lines the ground glass should be placed in contact with the film of the negative, the ground surface facing out. By this method but one thickness of glass separates the working up from the film, and will produce a sharper effect.

When the negative and ground glass are placed in the enlarging camera, and focused on the easel very thin negatives will show a slight grain, but much less than produced by matte varnish.

With negatives of average density the grain is scarcely perceptible.

Now comes his method of using chiffon. He states that if black chiffon be placed over the enlarging lens the grain will be cut out absolutely even with the thinnest of negatives. The chiffon will also prevent any retouching from showing.

The definition does not become fuzzy, but has a similar appearance to a print from a negative taken with a portrait lens when a slight amount of softness has been introduced.

The effect of the chiffon varies with the mesh and the coarseness of the threads, and in some instances two and even three thicknesses are necessary to produce the effect desired.

He suggests that in trying this method the worker provide himself with a variety of grades and try the effect of each one until the right one is found.

The chiffon should be black in preference to white as the white has a tendency to become luminous and so fog the highlights to a certain degree.

Seed "R" the fast plate of quality.

December The Only Condition StudioLightMagazine1913 269

A gift to please those you would favor with a mark of your personal esteem your portrait.

Port. No. 20, Price 50 cents.

Port. No. 20, Price 50 cents.

December. Portrait Series Of Cuts For Newspaper Advertising

"There's a photographer in your town*'

This series of cuts is offered the photographer that he may use our copy with suitable illustrations for newspaper advertising.

Port. No. 20 is the illustration for our ad, "Just as you are, I wouldn't change a thing." It appeared in Cosmopolitan, McClure's and Saturday Evening Post.

Port. No. 21, shown on the opposite page, is the illustration for our Christmas ad, a copy of which is shown on page 7.

The time to make use of these cuts is now. You can reach people with newspaper advertising you can't reach through the medium of your show case and you have the advantage of being able to follow up magazine advertising which has already set the public to thinking about photographs.

Port. No. 21, Price 60 cents.

Port. No. 21, Price 60 cents.

The above cut illustrates our ad in the Christmas number of Cosmopolitan, Mcclure's, Everybody's, Munsey, Harper's, Century, World's Work and Revieiv of Reviews. This is a formidable array of full pages. The same ad will appear as a quarter page in the Woman's Home Companion, Ladies' Home Journal, Saturday Evening Post and Collier's. The combined circulation of these magazines runs away into the millions and is probably much greater in your own city than your local papers.

This advertising is going to make a lot of Christmas business for photographers - will make business for you if you use the same copy in your local papers. (See page 7.) The illustration contains too much detail to allow being made in a smaller size. It tells the story well, however, and is worth the space. It will bring business before and after Christmas as well. Order your cut at once.