A PRACTICAL GUIDE TO THE MAKING OF BROMIDE PRINTS BY CONTACT AND BROMIDE ENLARGING BY DAYLIGHT AND ARTIFICIAL LIGHT, WITH THE TONING OF BROMIDE PRINTS AND ENLARGEMENTS TENNANT AND WARD NEW YORK Copyright 1912 by TENNANT AND WARD, NEW YORK Contents What is bromide paper? It is simply paper coated with gelatino-bromide of silver emulsion, similar to that which, when coated on glass or other transparent support, forms the familiar dry-plate or film used in negative-making. The emulsion used in maki

The Barnet bromide papers, comprising ten different varieties, differing in weight and surface texture but very similar to the kinds already described, are imported by J. L. Lewis, New York. As a suggestion to the reader desiring to have at hand a stock of bromide papers, I would advise Platino A , or a similar soft paper for prints under 5 × 7 inches; Matte-Enamel for soft effects, or a similar paper, as an alternative; Platino C and Royal Bromide for soft effects, or similar papers, for prints

Now all of these considerations may make very dry reading, but the reader who has followed them closely will see how vital they are to successful work. It should not be thought, however, that every exposure on bromide paper must involve an arithmetical calculation. On the contrary, once the proper distance from the light for the normal negative has been ascertained, it will be found that nine negatives out of ten will require no change in the distance from the source of light. This, of course, p

An excellent developer which must be used freshly mixed, and may be made up in a moment, is as follows: Take 1½ ounces of a 25 per cent solution of sodium sulphite; dry amidol, 30 grains; 5 to 10 drops of a 10 per cent solution of potassium bromide, and dilute with 4½ ounces of water. A supply of new developer should be added as this is seen to become exhausted. Other developing formulae could be given, but these two will be found to fill all requirements if properly compounded and intelligently

Assuming that the room chosen can be made practically light-tight, we will need some arrangement to hold the negative. The details of a box for this purpose can best be shown by a diagram (Fig. 3). ABCD is a strong and neatly made box open at both ends, and about two inches larger each way than the largest negative from which enlargements are to be made. E represents a section of a board which forms part of a window frame, a general view of which is given in Fig. 4. A detail of the box. Revertin

In looking over the magazines and annuals we will now and then see some new method given for illuminating evenly the back of a negative in enlarging or reduction. The most of these the writer has tried, but he has never found one of them which could be relied upon to give even reasonable satisfaction. If the light is apparently evenly diffused it is too weak. If strong enough it is not evenly diffused. Hence I will recommend nothing short of a pair of condensing lenses, as these have been proved

Few branches of photographic work, outside of negative-making, are as fascinatingly interesting as the making of enlarged prints on bromide paper from small negatives. Every amateur has negatives worthy of enlargement in his collection, and the process is so simple as to be within the capacity of the amateur who is still in his first year in photography. Its practice will stimulate his interest and help him in all his other photographic work. Especially will it help him in picture-making, the me

Manuals dealing with the manipulation of the various brands of paper may also be obtained, generally gratis , from the various manufacturers of bromide paper or their American agents as follows: The Eastman Kodak Co., Rochester, N. Y.; The Defender Photo Supply Co., Rochester, N. Y.; J. L. Lewis, New York City....