Frederick A. Draper.

1 he amateur photographer will have made but little progress towards artistic, results if the making of prints is not included in the work attempted. This is because the wide range of effects obtainable from a single negative, by using different printing papers, enables the operator to experiment until the desired result is secured. This experimental work with prints also affords valuable information regarding the making of the negative; these two parts of photographic work being dependent upon each other for the final result, the finished print. The amateur who is desirous of doing artistic work should certainly attempt print making as soon as possible after good negatives are being secured.

The necessary equipment includes printing frames, two or three trays, printing paper and the solutions required for toning and fixing. For those who have little or no leisure time during the day, a "gaslight" paper will be the most satisfactory to begin with, and this kind will be considered first. That known as "velox" will probably be most easily obtained by readers of this magazine, as it is for sale by almost every dealer of photographic supplies. It is made by the Nephera Chemical Company, which issues a pamphlet giving directions for its use, and also manufactures the necessary solutions for working it. It is always well to use the chemicals prepared by the maker of a paper, as the responsibility for good results is then solely with one party, in addition to the advantage that the chemicals used were intended for that particular kind of paper.

Of the many varieties of velox, the "regular carbon" and " special carbon" will answer for the first trials. Care should be taken to secure fresh paper, and paper that is thought to be old should not be accepted.

If gas is used, a Welsbach burner is very convenient, as it gives a large volume of light, and varies but little in intensity at different times. A central draught lamp with a glass reflector gives a good light. A table or other support is necessary, with some arrangement for holding the printing frames so that the negative will be exactly in line with the light, and always the same distance from it. The essential point is uniformity of exposure to the light, after the necessary time and distance has been once determined.

The package containing the paper should be opened in dim light, and the sheets not used kept covered. A book may be used to hold the necessary sheets previous to printing, thus avoiding the necessity of opening the original package each time. With the first few trials, and until one is quite familiar with the paper, a piece may be cut into narrow strips, with which exposures are made, and the strips developed until the correct exposure is learned. In handling the paper, the sensitive side of the paper should not be touched with the hands, as marks are likely to appear on the print if this is done.

Velox is a paper on which the image is not visible until developed. The process is quite similar to that for developing a negative. After the paper has been exposed, it is immersed edge-wise and face up, in a tray containing the developing solution. The tray should be somewhat larger than the print to facilitate handling. The print should be evenly covered with the developer as quickly as possible, so that its action may be uniform. This should be done in a dim light.

If the exposure has been right, the image will appear gradually; and if "regular " paper is used, will be fully developed in about 15 seconds. "Special" paper takes about twice as long. If the print flashes up and grows black rapidly, it has been overexposed. Remove at once and add a few drops of bromide solution to restrain the action of the developer. Rinse once in clear water and continue the development.

When development is completed, rinse in clear water for a short time to remove the surplus developer, and then immerse in the fixing bath. When in this bath, the prints should be kept moving to secure uniform and thorough fixing, and to prevent stains resulting from uneven action of the bath on different parts of the print. Remember that the hands should always be washed without soap and well dried when changing work from developer to fixing bath or the reverse. A tilting holder for trays can be purchased for a small sum, or can easily be made of wood, and, with a glass rod for moving the prints in the bath, the necessity for often washing the hands avoided.

The prints should remain in the fixing bath for 10 to 15 minutes, then placed for an hour in a tray into which water is running slowly from a faucet, or which is changed eight or ten times. The prints should be changed around so that all parts may be cleaned of the fixing solution. In warm weather the time for fixing may be shortened somewhat, or else the tray containing the bath be placed in a larger tray containing water kept cool with small pieces of ice. Use plenty of the fixing bath, and then wash it off very thoroughly. If the washing is not complete, the prints will fade in time. The prints are most conveniently dried by placing them between layers of blotting paper, but this paper must be free from chemicals. Suitable paper may be secured without difficulty. Cut and folded into a book, a few sheets will answer for quite a number of small prints.

The peculiarities of one kind of print being learned, other kinds can be attempted. Bromide, platinum, carbon, blue-prints and bichromate prints all afford interesting possibilities, limited only by the time and inclination of the worker. They all have their special advantages, and are used to produce special effects. The general process of printing one kind having been well learned, the taking up of the others presents but few problems. The increased interest and knowledge resulting from doing one's own work, more than compensates for the short time required to master the essentials of the process.