IAN TERN 
 
 SLIDES 
 
 UC-NRLF 
 
 HOW TO MAKE AND 
 COLOR THEM 
 
 D. L. ELMENDQRF 
 
642 MARKET ST., 
 
 Bui/ding. SAN FKANC1SCO. 
 
 GIFT OF 
 Joseph Le Conte 
 
 ENGINEERING LIBRARY 
 
LANTERN SLIDES: 
 
 HOW TO MAKE AND COLOR THEM. 
 
 BY 
 
 DWIGHT LATHROP ELMENDORF. 
 
 Little Book! Yield enough light for the 
 reader to discern the author's humble 
 attempt to lend a helping hand. 
 
 PUBLISHERS: 
 E. & H. T. ANTHONY & Co., 591 BROADWAY, NEW YORK. 
 
 1895. 
 
COPYRIGHTED,' 1894, ' 
 E.' & H. T. ANTHONY & Co. 
 
 
 (Vv^ee'v . w<v 
 
CONTENTS. 
 
 PAGE 
 
 Introduction 6 
 
 Chapter I, The Contact Method 13 
 
 Chapter II, The Camera Method 41 
 
 Chapter III, Diseases and Remedies 48 
 
 Chapter IV, Testing Slides 54 
 
 Chapter V, How to Color Slides 58 
 
 M 2945 
 
LANTERN SLIDES, HOW TO MAKE 
 AND COLOR THEM.* 
 
 INTRODUCTION. 
 
 THE difficulties whiqh 'fneet the Beginner at 
 the start are mdn-injl tliotih; orne; o. 
 
 tliotigh; . 
 
 them are real and are to "be 'overcome only^y 
 care, patience and perseverance, yet most of 
 the obstacles, which appear as mountains, soon 
 disappear before the magic of common sense 
 when applied under the guidance of practical 
 experience. 
 
 The printed directions enclosed in each box 
 of plates, while explicit enough for one well 
 versed in the art, are Greek to the novice. The 
 formulas puzzle some, the names of the chemi- 
 cals, others; the chemical actions threaten 
 distraction, while startling results, not at all in 
 accordance with the directions, cause a total 
 collapse. 
 
 The purpose of this little work is to guide 
 those who will follow its directions as Alpine 
 climbers do the " fiirer," step by step, trusting to 
 the direction of their leader, who has often 
 surmounted the difficulties which lie in the 
 path leading to a perfect lantern slide. 
 
 There are no short cuts to real success, but 
 by using the best appliances and methods we 
 
6 
 
 may speed over the path, enjoying each new 
 difficulty as it appears, because of the assurance 
 born of past successes. 
 
 The making of a lantern slide at the present 
 time is comparatively a very simple process, 
 because every requisite is prepared for the 
 worker, ready for immediate use, and no knowl- 
 edge of chemistry per se is necessary. The re- 
 sult, be it good or bad, depends entirely upon 
 the ^persofcareqiiation." 
 
 If this uncertain quantity were known in each 
 'piftieiAalv -case,, i.i .would be an easy matter to 
 prescribe the proper treatment ; but as it varies 
 even in one and the same person, the following 
 directions will only apply to those who will not 
 insert or assert their own personality too 
 much. 
 
 It is taken for granted that the beginner has 
 at least one good negative. If at all in doubt, 
 it is best for the novice to have some one who 
 knows select a good one to be used as a 
 standard. 
 
 Long experience has taught the author that 
 the negative is the first stumbling block. 
 
 Not many really know what a good negative 
 for slide work is. 
 
 One which is rich in contrast, yielding a 
 beautiful paper print, will make a good slide ; 
 but it cannot be compared with one which was 
 slightly overtimed, and therefore a trifle flat for 
 paper prints, but clear and full of detail, the 
 chemical deposit or grain of the plate being 
 exceedingly fine. 
 
1 ' DL: 
 SANTA MARIA BELLA SALUTE, VENICE. 
 
This quality of negative has yielded slides 
 which have been magnified up to 30 feet square, 
 and still the lights and shades were beautiful. 
 
 Lantern-slide plates in this country are 3^- 
 inches wide and 4 inches long. Various manu- 
 facturers make plates of these dimensions, 
 packed one dozen in a box, the latter being 
 carefully sealed in order to keep all light from 
 the plates. The plates manufactured for 
 lantern slides are generally quite thin, and the 
 glass is supposed to be especially selected ; but, 
 alas, there is plenty of room for improvement in 
 this respect. The glass is coated with an emul- 
 sion of silver which is sensitive to actinic light. 
 
 By actinic light is meant any kind of light 
 which causes a chemical change in the emulsion 
 which can be detected or developed by using 
 proper means. Throughout this work " actinic 
 light " will mean the light used to photograph 
 with, whether it is sunlight, gaslight, lamplight 
 or candle-light. 
 
 A rainbow is composed of seven so-called 
 colors. One edge of it is red, the. other violet, 
 with the five other colors lying between. By 
 holding a common triangular glass prism in 
 a sunbeam the same colors will be seen upon 
 the ceiling or some part of the room. This 
 beautiful band of seven visible colors is called 
 the sun spectrum. Without entering into a 
 physical discussion upon this subject, let it 
 suffice to say that the glass prism decomposes 
 the white (?) sunlight, or separates the various 
 colors which together form white light, so that 
 
8 
 
 we can see seven of them. If a small sun 
 spectrum be allowed to fall upon a piece of 
 sensitized or silvered paper, such as is com- 
 monly used for printing" photographs, it will be 
 found that the portion in the violet end of the 
 spectrum will turn brown rapidly, while that in 
 the red will be hardly affected at all. 
 
 From this we discover that red light has little 
 or no effect upon the silver compounds used in 
 photography, whereas they are instantly 
 changed in the blue and violet ; and careful 
 experiments prove that there are many rays 
 beyond the violet, which the human eye cannot 
 distinguish at all, that are especially energetic 
 in their action upon certain chemicals. The 
 green and yellow portions of the spectrum have 
 some chemical effect, but not nearly so much as 
 the blue and violet. 
 
 A piece of " ruby " glass (gold flashed, not 
 copper), held in the sunlight, absorbs or stops 
 almost all of the colors of which sunlight is 
 composed, except the red, which passes through 
 and gives us only red light, if the glass is prop- 
 erly flashed or coated with a film of red glass. 
 
 This glass is the best and safest medium used 
 for producing red light, which has little or no 
 chemical effect upon the sensitive dry plate ; 
 and it is therefore recommended for lamps 
 which are used to furnish light for developing 
 the ordinary plates prepared for general photog- 
 raphy. These plates are generally extremely 
 sensitive to violet, blue, green and yellow light 
 in their order. 
 
9 
 
 The plates made for lantern slides are not 
 nearly so sensitive. To use a technical term, 
 they are "slower"; therefore, ruby glass is not 
 necessary, although it is the safest. 
 
 There is a glass called " dark amber," which 
 serves admirably when backed with a piece of 
 ground-glass. It yields a soft brownish yellow 
 light, which does not try the eyes, and can be 
 used without danger while working with the 
 slow lantern-slide plates. 
 
 Sunlight or daylight is the most actinic light 
 that we have, next to which is the electric arc 
 light, which is now being substituted for day- 
 light in many of the best studios. Next in 
 order is that produced by burning magnesium. 
 
 These are all especially rich in blue and violet 
 light or actinic rays. 
 
 The incandescent electric light, gas jets and 
 kerosene oil lamps yield light which also con- 
 tains these actinic rays, but in a lesser degree. 
 
 The difference may be detected by using the 
 triangular prism. The spectrum of these is 
 especially rich in the yellow portion, therefore 
 the light from these sources is not so actinic, 
 but contains enough of the actinic rays to act 
 instantly upon the sensitive dry plate. In fact, 
 an ordinary gas jet is the source of actinic light 
 which the author uses for exposing the slides 
 in order to produce the image upon the plate. 
 
 As " ruby " or " amber " glass stops the 
 actinic rays of sunlight, they will also stop those 
 in other sources of light and allow the red light 
 (non-actinic) to pass through so that the opera- 
 
10 
 
 tor can see what is going on, without injury to 
 the plate. 
 
 The beginner cannot be too carefully warned 
 against the careless use of any of these sources 
 of light while unprotected sensitive plates are 
 around. 
 
 During the various operations of removing 
 the sensitive plates from the packing box, put- 
 ting them in plate-holders or in printing- 
 frames, and in the manipulations of the plates 
 during development and fixing, the plates 
 should be carefully protected from any kind of 
 actinic light, because they are very sensitive as 
 compared with sensitized paper. 
 
 The reader must get the above warning 
 firmly fixed in the mind, for it will save much 
 vexation and annoyance later. 
 
 The effect which actinic light has upon the 
 sensitive plate is wholly invisible, unless the 
 exposure is continued for a long period of time. 
 For example, take a plate, put it in a camera 
 and make an exposure for one second, then ex- 
 amine the plate carefully. No change will be 
 visible. That a change has really taken place 
 may be proved by pouring upon the plate a so- 
 lution containing certain chemicals, called the 
 developer. 
 
 If a plate be exposed openly to daylight for 
 several minutes or an hour, it will turn a gray or 
 chocolate color ; no chemicals are necessary in 
 this case to show that a change has taken place. 
 Chemists have not yet explained this wonderful 
 action of light. 
 
11 
 
 Fortunately the explanation is not essential 
 so long as we can make use of this action, de- 
 tect it, modify and extend it, until we obtain 
 the object we desire, namely, the fixed result 
 of the unknown chemical action of light, called 
 the image on the plate. This is done by a pro- 
 cess consisting of two steps ; ist, developing the 
 invisible image until it is seen ; 2d, fixing the 
 image so that it will remain permanently upon 
 the plate. Let us return to the experiments 
 with the two plates exposed to actinic light. 
 The first, which was exposed for a short time 
 only, needed the aid of powerful chemical 
 agents to bring out or develop the image. 
 
 The second needed none at all. 
 
 A logical conclusion may be drawn, that if, 
 on one hand, a plate has been exposed an ex- 
 ceedingly short time to actinic light, the chemi- 
 cal agents applied to bring out or to develop the 
 image must be powerful and be allowed to act 
 upon the plate for a long time ; on the other 
 hand, a plate exposed for a longer period re- 
 quires less powerful agents to produce the 
 image. Going a step further, we may conclude 
 that a perfect balance may be obtained between 
 the exposure and the developing agents, so that 
 the chemical action of the latter will develop 
 the invisible image produced by the former to 
 a proper degree, and no more or less. 
 
 When this balance is attained, perfection is 
 the result. 
 
 While this is theoretically easy, it is not often 
 attained in practice on account of the many 
 
variable quantities which enter into the calcu- 
 lation. For example, daylight varies at all 
 times of the day and the year ; therefore, it is a 
 very uncertain element to deal with. Almost 
 any source of steady, unvarying" light is better 
 for our purpose, such as a kerosene lamp, a gas 
 jet or the electric light. The temperature of 
 the room in which we work is another varying 
 element, and especially the temperature of 
 the developing solution itself, which should be 
 between 65 and 75 degrees Fahr. A slight 
 variation in temperature will cause a complete 
 change in the action of the developer. The de- 
 velopers, which will be described subsequently, 
 must be warmed or cooled, as the case may be, 
 until they are of the proper temperature, other- 
 wise they cannot be depended upon at all. 
 
 These difficulties, when once pointed out, 
 ought never to trouble a careful worker. 
 
 The personal element now steps in, and this 
 is the most unreliable quality of them all. It 
 has a habit of exhibiting new phases every day, 
 and often leads one to believe in the doctrine of 
 the total depravity of things in general. 
 
 De gustibus non est disputandum ; therefore 
 " agree to disagree," if necessary, but follow 
 the directions closely. 
 
CHAPTER I. 
 
 THE CONTACT METHOD. 
 
 TWO methods of making lantern slides will be 
 carefully described. The first will be called 
 the "contact method," which consists in print- 
 ing on prepared sensitized glass, just as if it 
 were paper. It is done by placing a negative 
 in an ordinary printing frame, and then adjust- 
 ing the gelatine surface of a prepared slide plate 
 directly against the image on the negative, and 
 keeping it in firm contact with the latter by 
 means of the springs of the pressure board of 
 the printing frame, while actinic light is allowed 
 to shine through the negative upon the slide 
 plate. The thicker portions of the negative 
 stop the light to a certain degree, and, therefore, 
 there is little or no chemical action upon the 
 corresponding parts of the slide plate. The 
 thinner portions allow more light to pass ; 
 therefore, there is more action upon the corre- 
 sponding parts of the slide, so that the chemical 
 action of the light upon the various parts of the 
 slide plate depends upon the thickness of the 
 respective parts of the negative. Moreover, it 
 also depends upon the length of time that the 
 light acts upon the plate. 
 
 The exposure may be so long that too much 
 action takes place, even under the thickest parts 
 of the negative, so that the delicate gradations 
 
14 
 
 of action, so much desired, are completely lost, 
 and the picture is seen through a veil of haze 
 called "fog." Some have called it "atmos- 
 phere." Well, the atmosphere is sometimes 
 "foggy "; but there is a difference between the 
 natural and the chemical. 
 
 When a plate has been over-exposed that is, 
 exposed too long to actinic light it invariably 
 begins to change or " come up " as soon as it is 
 thoroughly wet by the developer, and the de- 
 veloping action is often so rapid that no amount 
 of manipulation can save the picture. In slide 
 work it is only a matter of a few moments to 
 make another and a shorter exposure ; there- 
 fore much time and expense are really saved by 
 refraining from tinkering with the developer or 
 the over-exposed plate. 
 
 If it were a negative, and another exposure 
 were impossible, any kind of dodging would be 
 allowable, but it is "love's labor lost " on a slide. 
 Then, again, the exposure may not be long 
 enough for a sufficient amount of light to pass 
 through any parts of the negative except the 
 very thinnest. This is called under-exposure, 
 and is much worse than its opposite. In this 
 case the plate will lie in the developer for a long 
 time before any change whatever is seen, and 
 after it begins it will proceed so slowly that 
 three or four slides, properly exposed, could be 
 made and developed before the under-exposed 
 one is nearly so ; and even when this state does 
 occur, if it ever does, the slide had better be 
 converted into a cover glass at once, otherwise 
 
15 
 
 it will be nothing- but a failure in " black and 
 white." 
 
 The author is unacquainted with any method 
 that will produce a suitable deposit on an under- 
 exposed plate, either a negative or a slide. It is 
 trying to create, and that is impossible without 
 divine power. A slight over-exposure may 
 often be restrained by plunging- the developing 
 plate under very cold water and leaving it there 
 until another very weak and cool developer, 
 containing- proportionately a large quantity of 
 potassium bromide, is prepared for it. This 
 method is very valuable for negatives, but is 
 not advised for slides, because a better general 
 average will result from the use of one standard 
 developer, unchanged or unmodified, changing 
 the time of exposure to suit the negative and the 
 developer. There are enough variable quan- 
 tities to guard against without adding- still 
 another. 
 
 Experience, although the most expensive, is 
 the best of teachers ; therefore allow it to lay 
 down the following digest cf twenty-one years' 
 work. 
 
 USE: 
 
 First. A standard negative. 
 
 Second. A standard slide plate of one kind. 
 
 Third. A standard actinic light. 
 
 Fourth. A standard developer. 
 
 And change none of these invariables in the 
 contest with the variable : 
 
 (a) Time of exposure. 
 
 (b) Temperature. 
 
16 
 
 (c) Period of time the plate is in the developer. 
 
 (d ) The mental state of yourself. 
 
 Have all things clean darkroom, apparatus, 
 plates and solutions, and especially your hands. 
 
 Don't be in a hurry ; if you haven't time 
 enough to make a good slide, it is better not to 
 make any. 
 
 REQUISITES FOR THE " CONTACT METHOD." 
 
 1. A controllable source of actinic light. 
 
 2. A means of measuring the time of ex- 
 
 posure. 
 
 3. A lamp which yields non-actinic light. 
 
 4. Lantern slide plates. 
 
 5. A printing frame. 
 
 6. Trays for the various operations. 
 
 7. A camel's-hair duster. 
 
 8. A measuring glass, or graduate. 
 
 9. A glass funnel. 
 
 10. Absorbent cotton. 
 
 11. A means of washing the plates. 
 
 12. A plate rack. 
 
 13. A ^-inch flat camel's-hair brush for the red 
 
 prussiate of potash solution. 
 
 14. Lantern-slide mats. 
 
 15. Gummed strip of paper for binding the 
 
 finished slides. 
 
 CHEMICALS REQUIRED. 
 
 1. Developer. 
 
 2. Potassium bromide. 
 
 3. A bottle of acid sulphite of soda. 
 
17 
 
 4. Hyposulphite of soda. 
 
 5. Powdered alum. 
 
 6. Red prussiate of potash. 
 
 All of these articles may be obtained from the 
 publishers, and all except the developer may be 
 obtained anywhere. Formulas for developers 
 will be given later. 
 
 Each article will now be described in detail. 
 
 i. The most convenient source of actinic 
 light is the incandescent electric lamp, which 
 can be turned on and off, at pleasure. 
 
 Next in value is a gas-jet, controlled by a 
 ratchet device and lighted by an electric spark. 
 One pull of the pendant chain turns on the gas 
 and lights it at the same time. 
 
 A second pull shuts off the gas, and, of course, 
 extingiiishes the light. 
 
18 
 
 This apparatus, while it is admirably adapted 
 to the purpose of exposing slides, is rather ex- 
 pensive; for, in addition to the jet itself, which 
 costs $1.25, a spark coil ($3) and a battery of 
 three or four cells (50 cents per cell), are neces- 
 sary. The most convenient battery is the 
 " dry " form of cell. The whole apparatus costs 
 about $6. This is the form of actinic light used 
 by the author, and it leaves nothing to be de- 
 sired. Any length of exposure may be obtained 
 with the utmost ease. It has never failed; and 
 when the gas is turned off, the light is entirely 
 extinguished. 
 
 Another form of jet, while not equal to the 
 first in every respect, is quite well adapted to 
 the purpose. 
 
 It is a gas-jet with a "by-pass," screwed upon 
 a small iron stand, which may be connected 
 with any gas fixture by means of rubber 
 tubing. 
 
 The flow of gas is controlled by a stop-cock, 
 which is connected with a very small " by-pass " 
 tube at one side. The gas is first turned on and 
 lighted as an ordinary jet. 
 
 As the stop-cock is turned, it opens the by- 
 pass tube so that a very small flow of gas 
 escapes at the orifice and is lighted by the 
 main flame just before the latter is extinguished. 
 This little by-pass jet continues to burn as long 
 as the main jet is turned off. 
 
 When the main jet is gradually turned on, it 
 is lighted by the small jet, which is completely 
 extinguished when the main jet is full on. 
 
19 
 
 There are two slight objections to this 
 burner: 
 
 In the first place, the by-pass flame, although 
 small, gives off some actinic light; therefore it 
 is best to keep the burner at some distance 
 from the developing table. 
 
 Secondly, it is liable to go out entirely if the 
 stop-cock is turned with a sudden jerk. It is 
 also liable to be blown out by the slightest 
 down draft. If gas is not within reach, a 
 kerosene lamp will answer, if it is placed in a 
 light-tight, not air-tight, box, having a swinging 
 door which may be easily opened and closed. 
 
 The author does not believe in " make-shifts " 
 of any kind. 
 
 As a last resort, the lamp used for developing 
 may be arranged with a swinging door, so that 
 one source of light may serve the two purposes; 
 but it is preferable to leave the developing lamp 
 undisturbed. 
 
 2. The simplest and most convenient method 
 of measuring the exposure of actinic light is by 
 means of an ordinary cheap metallic clock, 
 which has a good, loud tick that may be easily 
 heard all over the darkroom. The author uses 
 a 79-cent clock, which ticks four times to the 
 second. It is placed on a shelf directly under 
 the exposure gas-jet and measures off quarter, 
 half or full seconds with unchanging accuracy, 
 without requiring much mental strain on the 
 part of the operator. The tick of the clock will 
 enable one to repeat an exact exposure on any 
 number of plates. 
 
It is a very bad plan to trust to one's own 
 sense of time in exposing lantern slides. 
 
 3. A good lamp for the developing table is an 
 absolute necessity. A small one is an abomina- 
 tion for slide work. One of the best on the 
 market is Carbutt's " Multum in Parvo," which 
 can be very much improved by removing all 
 the glass it contains and substituting ruby glass 
 at the sides and an 8x 10 "dark amber" glass 
 in front, which should be backed by a piece of 
 plain ground-glass of the same dimensions. 
 
 The addition of the ground-glass will surprise 
 those who have never tried it, as it gives a 
 diffused light that is delightful to work by. 
 The slightest change in the plate can be de- 
 tected at once, and, moreover, more light can 
 be used without danger of fogging the plates 
 than is possible without the ground-glass. 
 
 Instead of the kerosene lamp a gas burner 
 upon a small stand which is connected with a 
 gas pipe is used. A controlling stop-cock is 
 
placed outside of the lantern so that the light 
 may be increased or diminished at pleasure 
 without opening- the lamp. 
 
 4. For slide plates the author prefers Carbutt's 
 and Cramer's. 
 
 5. One or two printing frames with the 
 pressure board backed with black broadcloth 
 which does not fray easily. 
 
 6. Four trays are required, two large enough 
 to hold two 3^x4 plates conveniently. These 
 are to be used for developing only. 
 
 Improved Printing Frame. 
 
 Deep white porcelain trays are recommended 
 because they form a good contrast to the plate as 
 it develops, and they show dirt when there is any. 
 
 A third one, large enough to hold four slide 
 plates, is used for the hyposulphite of soda solu- 
 tion only; and the fourth, a tray of equal size, 
 for the alum solution only. These trays should 
 be used for the purposes indicated, respectively, 
 and for nothing else. 
 
To avoid the misuse of a tray, it is a good 
 plan to mark each one. The gold paint liquid 
 sold in all paint shops answers this purpose bet- 
 ter than anything else. It resists the action of 
 photographic chemicals for a long time and is 
 plainly visible in ruby or amber light. 
 
 7. A good camel's-hair duster is a sine qua non. 
 It should be at least 2 inches wide. 
 
 It must be washed first with soap and water 
 and then with a little soda and water, after 
 which it should be 
 held under the tap 
 until all soap and soda 
 have been washed 
 out; then partially 
 dried with a clean 
 towel and hung up to 
 dry spontaneously in 
 some place free from 
 dust. 
 
 The fingers should 
 never come in contact 
 with this brush. A 
 duster which has 
 been in contact with 
 the human skin will 
 leave upon the plate 
 
 that Which is much 
 
 worse than dust. In this connection remember 
 that a finger mark upon a slide is not a beauty 
 spot, even if made by a pretty finger. 
 
 8. A measuring-glass or graduate an 8-ounce 
 one will answer. The ordinary thick precipi- 
 
 Graduate. 
 
23 
 
 tating jars are just the thing for holding devel- 
 opers in use, as the liquid may be decanted, 
 leaving the particles of dirt and gelatine upon 
 the bottom. 
 
 They do away with the necessity of filtering 
 the developer frequently. 
 
 9. One or two quart glass funnels, to be used 
 with paper or absorbent cotton, as filters. 
 
 10. Absorbent cotton is very useful as a filter, 
 and for swabs for swabbing of plates, as will be 
 described. 
 
 11. A good wash-box for thoroughly washing 
 the plates after they have been fixed. The per- 
 manency of the slide depends partly upon the 
 thoroughness of the final washing. 
 
 12. A rack for holding the plates while they 
 are drying spontaneously. 
 
 13. The use of the small camel's-hair brush 
 will be described in its proper place. 
 
 14. Lantern-slide mats are pieces of black 
 
paper 3^ x 4 inches, with an opening cut out of 
 the center. The openings are of various shapes. 
 1 5 . For gummed paper the author uses Sheplie 
 gum paper, which works better than anything 
 else on the market, and, being of a light color, 
 the name of the slide can be written upon it. 
 
 CHEMICALS AND PREPARATIONS REQUIRED. 
 i. Developer. A bottle of Anthony's improved 
 Hydroquinone developer, which comes prepared 
 in 8 and i6-ounce bottles. 
 
 Drying Rack. 
 
 This developer is an admirable one for slides. 
 It is clean, does not stain the fingers much, has 
 wonderful keeping qualities, and will make as 
 fine a slide as any developer the author is 
 acquainted with. 
 
 Tom, Dick or Harry may have just as good a 
 one, but the following directions are based upon 
 this developer and upon the Carbutt or Cramer 
 plates, and the author will shuffle off any and 
 all responsibility if any others are used. No 
 one can make a perfect negative or a perfect 
 slide every time, so don't expect to. 
 
At the close, formulas will be given for those 
 who desire to work out their own salvation. 
 
 2. An ounce bottle of potassium bromide. 
 Take an empty ounce bottle, fill one-fourth of 
 it with bromide crystals and then fill up with 
 water. Shake it thoroughly; if all the crystals 
 dissolve, put in some more and shake again. In 
 a short time one can be satisfied that no more 
 crystals will dissolve. When this state of affairs 
 is reached, the solution is said to be "saturated." 
 And a saturated solution of the bromide is what 
 is wanted. Mark the bottle " bromide solution." 
 It is used in connection with the developer. 
 
 3. The acid sulphite of soda is used in con- 
 nection with hyposulphite of soda. 
 
 4. A solution of hyposulphite of soda, com- 
 monly called "hypo," or the fixing solution. 
 
 Take 8 ounces of hypo, put it in 32 ounces of 
 water and shake until the crystals are dissolved, 
 then add half a drachm of the acid sulphite of 
 soda. Mark this bottle "hypo solution." 
 
 The acid sulphite keeps the hypo solution 
 clear, so that there is no danger of staining the 
 plates. A very small quantity is sufficient, too 
 much is an evil. Hypo is very cheap, so don't 
 work it to death. A fresh solution should be 
 made every day or two if many plates are fixed, 
 and a fresh solution is always safer even if only 
 a few plates are to be fixed. Never use it if the 
 solution is yellow or brown. 
 
 5 . Put powdered alum into a pint bottle of water 
 until no more will dissolve and some undissolved 
 powder remains on the bottom of the bottle. 
 
This forms a saturated solution of alum which 
 must be filtered before it is used. It hardens 
 the gelatine and prepares it for future applica- 
 tions of color. 
 
 6. The red prussiate of potash is very poison- 
 ous and should be handled with care. Its use 
 will be indicated in an appropriate place. 
 
 Before beginning to make lantern slides be 
 sure that the darkroom is quite clean, especially 
 the developing table and the floor under and 
 around it. It is the invariable custom of the 
 author to wipe the table and floor with a damp 
 cloth. 
 
 This precaution is always necessary, but par- 
 ticularly so if the room has been used for 
 developing purposes previously. It is almost 
 impossible to prevent some of the various solu- 
 tions from dropping from the plates or fingers 
 during the processes of development and fixing, 
 and as the water soon evaporates, fine crystalline 
 deposits are left, which ascend in the form of 
 fine dust upon the slightest provocation. 
 
 This chemical dust has disastrous effects upon 
 every photographic article it touches. It is 
 worse than any form of bacilli, because there 
 are no remedies for the evils it causes. A strict 
 quarantine against the plague is the only safe- 
 guard. 
 
 Be sure that the source of actinic light and 
 the developing lantern are in order. Fill the 
 hypo tray half full of filtered hypo solution, and 
 into the alum tray pour an equal quantity of 
 filtered alum solution. Keep these trays away 
 
from the developing- table at all times with great 
 care. 
 
 Measure out 3 ounces of Anthony's hydro- 
 quinone developer, as it comes prepared in 
 bottles, and add 2 ounces of pure water. Croton 
 water is liable to turn it yellow very quickly. 
 Then add two or three drops of the bromide 
 solution. This mixture forms the standard 
 developer. Never allow anything else but plates 
 to get into this developer. 
 
 Clean the back (the glass side) of the standard 
 negative, dust off the gelatine surface with a 
 camel's-hair duster, and place it in a printing 
 frame, gelatine side up. 
 
 All the foregoing operations should be carried 
 on by ordinary light. 
 
 At this point all actinic light of any kind 
 should be shut off ; of course no stray rays of 
 daylight should be admitted into the darkroom. 
 
 By the red or amber light of the developing 
 lantern open a box of slide plates, dust off both 
 sides of one, being careful to dust the gelatine 
 side last, and place it upon the negative in the 
 printing frame, so that the creamy white gelatine 
 surface of the plate is in contact with the 
 negative. Then take up the frame, holding the 
 plates in contact gently with the thumbs, and 
 adjust the slide plate over the desirable part of 
 the negative, while looking through the plates 
 at the developing light. When the desired 
 position is obtained, lay the frame down level 
 and adjust the pressure board carefully, so as 
 not to move the slide plate. Unless this is care- 
 
28 
 
 fully done, the negative may be scratched or 
 broken. 
 
 Put away, or close, the opened box of plates. 
 
 The plate is now ready for exposure to actinic 
 light. 
 
 Hold the frame so that the light, when turned 
 on, may fall perpendicularly upon the negative 
 at a measured distance from the source of the 
 light, say, 2 feet. 
 
 These two points must be carefully noted, for, 
 in the first place, the sharpness or distinctness 
 of the image depends upon the direction in 
 which the light passes through the negative. 
 When the rays pass through it perpendicular 
 (at right angles) to its surface, the sharpest 
 image is obtained. 
 
 In the second place the negative should be at 
 a known distance from the source of light, 
 because the intensity or active power of light 
 varies inversely as the square of the distance 
 from its source. That is, if the negative, at a 
 distance of 2 feet from the light, requires an 
 exposure of four seconds, at one-half of the dis- 
 tance, i foot, it would require an exposure of 
 only one second to obtain the same result. At 
 twice the distance, 4 feet, it would require an 
 exposure of sixteen seconds. Therefore be 
 careful about these little things, or there will 
 be variations in the results of the exposures, 
 even when exactly timed. 
 
 To return to the work : 
 
 Hold the frame as directed and turn on the 
 actinic light for two seconds by the clock. Re- 
 
move the slide plate and write plainly, "two 
 seconds," across the gelatine surface with a lead 
 pencil. Put this plate away, or wrap it up light- 
 tight for a few moments. 
 
 Adjust another slide plate on the same nega- 
 tive, and under the same conditions exactly 
 expose it four seconds. Remove this plate from 
 the frame, mark it " four seconds," and place it 
 with the other exposed plate. 
 
 After testing the temperature of the devel- 
 oper, which should be about 70 degrees Fahr., 
 pour it into a clean developing tray. The 
 temperature should not be lower than 65 de- 
 grees nor higher than 75 degrees. A cold 
 developer works too slowly and makes the plates 
 black and white, while a warm one is too rapid 
 in its action and causes a smoky appearance. 
 It is better to have it just right. 
 
 The tray should be placed in front of, and 
 about 6 inches from, the amber glass of the 
 developing lantern. 
 
 Place the two exposed plates, gelatine side up, 
 in the developer, and rock the tray back and 
 forth so that the developer rushes over the plates 
 in every direction. There must be enough de- 
 veloper in the tray to cover the plates to a depth 
 of at least an eighth of an inch when the tray is 
 level. Plenty of developer must be the rule. 
 
 The rocking motion must be kept up during 
 the greater part of the time the plates are in the 
 developer. Without this motion the plates de- 
 velop unevenly, and are liable to be spotted 
 or mottled, and will often appear like some of 
 
30 
 
 the half-tone prints sometimes seen in maga- 
 zines, which are wretched apologies, to put it 
 mildly. 
 
 The plate marked " four seconds " will pro- 
 bably begin to change color slightly in about 
 thirty or forty seconds. It may begin sooner. 
 At all events it will begin before that marked 
 "two seconds." The exact time to elapse be- 
 fore the action begins cannot be predicted by 
 one unacquainted with the negative or slide 
 plate used. Different emulsions, even by the 
 same manufacturer, vary greatly in sensitive- 
 ness, no matter how they are marked. Don't 
 get impatient, but keep on rocking the tray. 
 If the outlines of the picture are not distinctly 
 seen after sixty or a hundred seconds have 
 elapsed, the indications are that the plates were 
 not exposed long enough. If, however, one of 
 them does come up nicely, the correct exposure 
 may have been found in this first attempt, or it 
 may be between two and four seconds. If they 
 do not develop nicely, cover the tray with the 
 top of a cardboard box to exclude light, leaving 
 the plates in the developer, and expose another 
 plate on the same negative, under the same 
 conditions, five seconds exactly. Mark it and 
 put it away. Then expose still another on the 
 same negative, as before, six seconds. Mark 
 this and put it with the five-second plate. 
 
 Remove the first two plates from the devel- 
 oper, rinse them off by holding them under a 
 tap for a moment, and then put them into the 
 hypo solution. Don't put your fingers into the 
 
31 
 
 hypo. If the fingers are wet with hypo they 
 should be thoroughly washed before any other 
 work with plates or developer is attempted. 
 
 Put the last two exposed plates into the de- 
 veloper, and rock the tray as before. Probably 
 one of these plates has been correctly exposed, 
 so watch closely. The plate which had the 
 longer exposure will begin to change color 
 first. In a few moments after the plates are 
 thoroughly wet by the developer, the outlines 
 of the picture will begin to appear, somewhat 
 as they do on sensitive paper in sunlight, only 
 the color will be different, either brown or black ; 
 and every little detail will gradually be seen in- 
 creasing in distinctness and in depth of color, 
 until it appears as a finished photograph, but 
 more beautiful. 
 
 The plate which had five seconds exposure 
 will " come up " or develop somewhat slower, 
 but that is only to be expected because it was 
 exposed a shorter time to the actinic light. 
 When the former plate looks quite dark, the 
 latter will appear lighter. Note carefully the 
 degree of darkness of each plate as compared 
 with the white bottom of the tray. 
 
 When the six-second plate has become much 
 darker than you think it ought to be, take both 
 plates out of the developer, rinse them off under 
 the tap and place them in the hypo and leave 
 them there for two or three minutes. Put away 
 all the unexposed plates and turn on the actinic 
 light. 
 
 Then take the first two plates out of the hypo, 
 
rinse them off, and hold them up between the 
 light and the eyes, placing a piece of ground 
 glass between the plates and the light. Examine 
 them carefully, by looking through them at the 
 ground-glass. The plate exposed two seconds 
 probably will have little or nothing upon it. 
 
 That exposed four seconds may have quite a 
 good image, but very cold or black and white, 
 and it may be very thin. Then take out the 
 last two plates, rinse them off, and examine 
 them by looking through them at the brightly 
 illuminated ground-glass. The novice will prob- 
 ably be surprised to find all of the plates much 
 thinner than when they were placed in the 
 hypo. A short description of the cause of this 
 may be of benefit. 
 
 The actinic light forms the invisible image, 
 the developer causes a chemical reaction upon 
 the molecules of silver which have been acted 
 upon by the light, so that the image not only 
 becomes visible, it also becomes a body as we 
 understand the term. 
 
 The developer seems to pile up the molecules 
 of silver upon the plate so that where there was 
 the greatest action of light there is the greatest 
 depth of deposit and vice versa. When the 
 conditions are favorable, this is one of the most 
 beautiful of all chemical actions. 
 
 As all of the molecules of silver upon the 
 plate are not acted upon by the light when the 
 exposure is correct, it is necessary to remove all 
 those not developed, and the hypo does this ; it 
 is called fixing. The greater part of the silver 
 
33 
 
 on a plate is dissolved in the hypo, therefore the 
 plate is much thinner when it leaves it. For 
 this reason the plates must be developed much 
 darker or thicker than at first seems necessary. 
 The development must be kept on long after 
 the picture looks very nice. The most difficult 
 point in the whole process is the determination 
 of the exact amount of deposit developed upon 
 the plate. 
 
 In other words it is difficult to decide upon 
 the exact moment to remove the plates from 
 the developer. This desirable knowledge can 
 only be attained by systematic experiments with 
 one negative, one developer and one kind of 
 plate, a tentative method which trains the eyes 
 to a nice perception of detail and density or 
 thickness of deposit. 
 
 Returning to the four developed and fixed 
 plates, choose the best one and note the time of 
 exposure written upon it. 
 
 Suppose, for example, it was five seconds. 
 Expose two more slide plates on the same nega- 
 tive, giving each plate exactly five seconds at 
 the same distance from the light, that is, under 
 the same conditions as before. Put these plates 
 into the same developer. Having an equal ex- 
 posure they will develop alike. Develop them 
 until they seem to be dark enough. Then 
 remove one of them, rinse it and place it in the 
 hypo, leaving the other in the developer a little 
 longer, say ten or twenty seconds. Then re- 
 move it, rinse it, and place it in the hypo, so 
 that it can be easily distinguished from the 
 
34 
 
 other. After a lapse of two or three minutes 
 they will be fixed enough for examination. 
 
 Compare them before the ground-glass and 
 white light. Which is the better ? 
 
 If it is the one removed last from the de- 
 veloper, be careful to develop other slides a 
 little longer than is thought necessary. 
 
 If it was that removed first, try to imitate in 
 every respect the manipulations which produced 
 it. If they are both too dark, they were de- 
 veloped too long. Expose two more plates the 
 same length of time the best slide had, and 
 develop them. When they seem to be devel- 
 oped almost enough, take one plate out, rinse it 
 under the tap for a moment and examine it by 
 looking through it at the developing light for a 
 moment. Study its qualities carefully by trans- 
 mitted light. If the picture is a landscape, the 
 trees and all shadows should appear very dark; 
 the sky should show almost nothing at all. 
 After noticing everything that is noticeable, the 
 slide should be rinsed and placed in the hypo. 
 This examination should not last over ten 
 seconds. All this time the other plate is devel- 
 oping. Notice its appearance in the developer; 
 remove it when it seems dark enough; rinse it 
 and examine it also by transmitted light, taking 
 care to notice all the points wherein it differs 
 from the first one. After a careful examination, 
 rinse it and place it in the hypo, keeping it apart 
 from the other plate. It is easier for some to 
 judge the density and quality of a plate by trans- 
 mitted than by reflected light. After the plates 
 
35 
 
 are fixed they may be examined, and the good 
 and bad points of each carefully noted. 
 
 The above exposures were actually tried by 
 a beginner, working- under the author's direc- 
 tions, and the results were very gratifying- to 
 both pupil and instructor. The standard nega- 
 tive was known, and the series of exposures was 
 arranged so that it would include the proper 
 one, but the pupil was not aware of that fact. 
 The pupil decided upon the correct exposure 
 without any suggestions from his teacher. 
 
 If none of these exposures chance to be the 
 right one for the reader's standard negative, 
 other periods of exposure should be systematic- 
 ally tried after the same manner. After a few 
 trials the correct exposure will be found. 
 
 This tentative method may seem to be a waste 
 of plates on one negative, but it is not, even if 
 thirty or forty plates are so used. Don't be dis- 
 couraged by a few or by many failures. The 
 most expert slide-makers don't obtain twelve 
 fine slides from a dozen plates not by a large 
 majority. 
 
 By thoughtfully working this method out the 
 novice will learn how to judge the quality of the 
 slide as it develops, and when to remove it from 
 the developer. 
 
 The principal idea of this method is to train 
 the eyes so that the moment another negative 
 is compared with the standard the proper ex- 
 posure can be decided upon with a certainty 
 that would astonish those accustomed to modify 
 their developer to suit any haphazard exposure. 
 
Therefore, keep at the standard negative until 
 not only one, but several good slides are made 
 from it, without modifying the developer at all. 
 After being satisfied that a good slide can be 
 made from the standard negative, mark the cor- 
 rect exposure upon one edge of the negative. 
 Then compare all other negatives, from which 
 slides are to be made, with the standard. 
 Choose those which are of the same density 
 and color, and place them in one pile. They 
 will all need an exposure like that given to the 
 standard. Those which are thicker or denser 
 will require longer exposures; those which are 
 thinner, shorter. 
 
 The color of the negative also necessitates a 
 change in the length of exposure. Those which 
 are gray require less than those which are 
 black. Those which are yellowish require very 
 long exposures. 
 
 It is only necessary to remember what was said 
 in the introduction about the spectrum colors to 
 see the logic of this. 
 
 After several plates (fifteen or twenty) have 
 been developed in this one tray of developer, its 
 action will be somewhat weakened and there- 
 fore slower. It is then advisable to throw away 
 half of it, filter the remainder and add to it an 
 equal quantity of new developer made up as 
 directed in the first instance, omitting the bro- 
 mide solution. 
 
 By renewing the energy of the developer in 
 this way, a constant and even action may be 
 kept up for hours. Never employ a developer 
 
SIMPLON ROAD, ITALY. 
 
 D. L. Elmendorf. 
 
which has once been used after it has stood for 
 one or two days. The author has tried it and it 
 made wretched slides. 
 
 Using" fresh developer is like using a boiler 
 having a steam gauge upon it the pressure is 
 known; while old developer is like an old gun 
 that has been loaded for years, it may not go off 
 at all, or it may, and take the immediate neigh- 
 borhood with it, "there's no tellin'." 
 
 After the plates have been developed they 
 should be left in the hypo at least five minutes ; 
 a longer time is safer. If a plate is removed 
 from the hypo about a minute after it is placed 
 therein and examined by looking at the back of 
 it, the edges will appear dark, while the center is 
 still white. 
 
 If the plate is dipped in and out of the hypo, 
 the dissolving action of the chemical may be 
 watched. Gradually the whole plate becomes 
 dark and all of the white visible silver unacted 
 upon by the light and developer seems to have 
 been removed, but this is not so. 
 
 This action goes on long after the eyes can 
 distinguish it ; therefore it is necessary that the 
 plate should remain in the fixing solution until 
 it is thoroughly fixed. This is essential if the 
 slides are to be permanent. If they are not 
 thoroughly fixed, they soon fade and turn yellow. 
 Actinic light should not strike the plates while 
 fixing. After the plates are fixed they should 
 be thoroughly washed in running water for at 
 least two or three minutes and then while under 
 the tap swabbed off with a wet tuft of absorbent 
 
38 
 
 cotton and then placed in the alum bath. 
 They should remain in this from two to five 
 minutes. The exact time is immaterial. 
 
 The alum hardens the films so that they are 
 not liable to leave the glass. The alum bath, 
 moreover, is necessary if the slides are to be 
 colored afterwards. After the alum has hard- 
 ened the film, each plate should be placed under 
 the tap, swabbed off with another tuft of cotton 
 again, and then placed in the wash box and 
 washed with cool running water for at least half 
 an hour. If the hypo is not thoroughly washed 
 out, it will stain the plate. It sometimes crystal- 
 lizes in the plate long after the slide was made 
 and ruins it. 
 
 After a thorough washing, each plate should 
 be placed under a tap, swabbed off with cotton 
 again, and then placed in a plate rack and 
 allowed to dry spontaneously. The author uses 
 a small electric fan which dries the slides in 
 about half an hour. 
 
 When dry the slide may oe mounted at once, 
 by placing a lantern-slide mat directly upon the 
 gelatine. By moistening one corner of the mat 
 with the tongue and pressing it quickly and firmly 
 upon the gelatine, it will adhere firmly so that it 
 retains its position. Then a clean cover glass is 
 laid on top of the mat and the two glasses are 
 bound together with gummed strips of paper. 
 
 The cover glass protects the picture from 
 being scratched, the mat between the glasses 
 acts as a buffer, and slides well mounted may 
 be quite roughly handled with impunity. 
 
39 
 
 If the slides are to be colored they must not 
 be mounted until afterwards. 
 
 Sometimes a reproduction of printed matter 
 oi- of a line drawing is required. 
 
 The negatives of such subjects should be 
 intense, but clear. Negatives which are very 
 thick and black are often called intense when 
 not so at all. A very poor flat image is mas- 
 querading under cover of a thick mass of fog 
 that's all. 
 
 Clearness is an essential for line work. The 
 lines or printed matter should appear as clear 
 glass on the negative. 
 
 After adjusting a slide plate on the negative, 
 it should be exposed a very short time, say, one 
 second or even a half second; this, of course, 
 depends upon the clearness of the negative. 
 
 The exposed plate should be developed with 
 Anthony's hydroquinone developer without dilu- 
 tion, adding one or two drops of the bromide 
 solution to 3 ounces of developer. The develop- 
 ment should be carried on till the lines or letters 
 appear very black and the whites just the least 
 bit tinged by the developer, when the plate 
 should be removed, rinsed and thoroughly fixed. 
 
 This same method of procedure will often 
 yield fine slides from negatives which are so thin 
 that paper prints from them are an impossi- 
 bility. Very intense negatives yield but fair 
 slides at best, excepting those intended for line 
 work, and the like. The proper method, with 
 the exception noted, is long exposure and weak 
 developer. 
 
40 
 
 All experiments of this kind should be de- 
 ferred until the reader is quite expert in making 
 fair slides from good negatives. Like all good 
 things, the contact method has its limitations. 
 It is confined to the use of negatives with images 
 of the proper size. As the largest opening in a 
 standard lantern mat is 3 x 2j inches, the size of 
 the image must conform to that. Frequently the 
 image is too large, even when within these limits, 
 and produces a very inartistic, crowded effect 
 when projected upon a screen. The very oppo- 
 site sometimes occurs, but the former is so omni- 
 present that it is really a tremendous fault. 
 Often the immense size of a certain object is 
 toned down by the proportional dimensions of 
 others near it. If there happen to be figures in 
 the scene, they appear as mammoths. The 
 author once saw upon a screen the image of a 
 dog which measured 2 1 feet in length. This was 
 followed by Niagara Falls, not quite 1 2 feet long 
 and about 2 feet high, not half big enough to 
 wet the dog. It is a common thing to see human 
 faces appear 10 or 12 feet in circumference. 
 The incongruity of such things is apparent, and 
 can only be avoided by making negatives which 
 are suitable for slide purposes, or by calling to 
 our aid the camera method. 
 
CHAPTER II. 
 
 THE CAMERA METHOD. 
 
 THIS method requires a camera with a long- 
 bed and bellows to match, a lens of 4 or 5 
 inches' focus, and an adjustable hood, projecting 
 in front of the lens in such a way that it extends 
 to the frame which holds the negative, so that 
 only those rays of light which pass through the 
 negative can enter the lens. 
 
 The most convenient apparatus for this work 
 is Anthony's lantern-slide camera, made at the 
 suggestion of the author. 
 
 Anthony's Lantern-Slide Camera. 
 
 The frame carriage for the ground-glass and 
 the plate-holder may be oscillated within certain 
 limits, so that the image on the slide may be 
 perfectly vertical, even if that on the negative is 
 askew. 
 
This camera is adapted to the use of 4 x 5 
 negatives, either horizontally or vertically. All 
 its parts are adjustable, enabling one to enlarge 
 or reduce the size of the image at pleasure. 
 A flap shutter is placed just back of the lens 
 frame, with an indicator which shows whether 
 the lens is open or closed. This is an excellent 
 piece of apparatus, and is not expensive. 
 
 Larger cameras are manufactured, so that 
 negatives of any size may be reduced to the 
 proper lantern-slide size. 
 
 When a slide is to be made in this camera, 
 the lens is first screwed into its front board and 
 put in place; the negative is placed in the frame 
 at the end of the camera farthest from the 
 ground-glass, in such a way that the gelatine side 
 is toward the lens and the image is upside down. 
 
 Then place the camera against a window at 
 such an angle that it points directly toward the 
 sky (not the sun), resting the lower end upon a 
 table, or it may be directed toward a large piece 
 of white cardboard brilliantly illuminated by 
 daylight. 
 
 The lens frame is then pulled back from the 
 negative the distance which the lens requires to 
 form the image of the desired size. This dis- 
 tance depends upon the focus of the lens, and 
 must be ascertained by experiment. Suppose it 
 to be 14 inches. Then move the ground-glass 
 carriage back and forth until the image upon 
 the ground-glass is very sharp. This image 
 will be right side up, but right for left as one 
 sees himself in a mirror. If the image is too 
 
43 
 
 large, the lens must be moved farther from the 
 negative and the focus obtained again. If too 
 small, the lens must be pushed nearer to the 
 negative and the focus adjusted again. After 
 the camera is once nicely adjusted for the aver- 
 age negative, the positions of the lens frame and 
 
 Camera Method. Daylight. 
 
 ground-glass carriage should be marked in order 
 that time may be saved on some future occasion. 
 A small stop or diaphragm should then be 
 placed in the lens, for two reasons : it makes the 
 image very sharp, and it increases the time of 
 exposure, which is convenient when working by 
 daylight. 
 
44 
 
 When the camera is pointed at the sky there 
 is a certainty that the negative will be evenly 
 illuminated, whereas care must be taken if the 
 light is reflected from a white screen. The 
 screen must be adjusted at such an angle that 
 the light will be reflected directly through all 
 parts of the negative equally, and the screen or 
 cardboard must not be too near the negative. 
 If it is, a nice image of it will appear on the 
 slide together with that of the negative, and 
 will probably give rise to "cuss words." 
 
 Having secured a satisfactory illumination, 
 the shutter is closed. A slide plate is put into 
 the little plate-holder in the darkroom by non- 
 actinic light. 
 
 The holder is then placed in its proper place 
 in the camera, the slide drawn, and the exposure 
 given by turning the shutter. 
 
 The length of exposure depends upon the lens 
 used, the size of the stop or diaphragm, the size 
 of the image, the negative, the time of day, the 
 season of the year, and, lastly, the state of the 
 weather or of the sky. Direct sunlight should 
 not be used. 
 
 The only invariable quantities are the lens, its 
 stop and the standard negative and developer. 
 All the others are unreliable, and have to be 
 tested by many experiments. 
 
 This method must not be attempted by those 
 who are not able to make a good slide by the 
 contact method. 
 
 To illustrate the extreme variability of day- 
 light, the exposures given upon one negative, 
 
45 
 
 just for experimental purposes, will be out- 
 lined. 
 
 January yth. Clear, at noon, one minute ; 
 3 P.M., one and a half minutes. 
 
 January 8th. Stormy, at noon, two minutes ; 
 at 3 P.M., four minutes. 
 
 January pth. Cloudy, at noon, one and one- 
 fifth minutes ; at 3 P.M., two and a half minutes. 
 
 January zoth. Cloudy, at noon, two minutes ; 
 at 3 P.M., five minutes. 
 
 January i2th. Clear, at noon, forty-five 
 seconds ; at 3 P.M., one minute. 
 
 January i8th. Clear, at noon, forty-five 
 seconds ; at 3 P.M., one minute ; at 4 P.M., two 
 and a half minutes ; at 5 P.M., seven minutes. 
 
 Lens, Dallmeyer 4x5 rapid rectilinear. 
 
 Stop, 7/64. 
 
 Plate, Cramer lantern slide. 
 
 With an ordinary negative a lens of the rapid 
 rectilinear type with a small stop,/764, and upon 
 a clear day at noon in January, an exposure of 
 one minute should be tried ; in March, a little 
 less ; in May half, the time will suffice, etc., etc. 
 
 Using such a small stop, the variation of a 
 few seconds in the exposure either way will not 
 amount to much, because the plates are quite 
 slow. 
 
 The standard developer for this work is 4 
 ounces Anthony's hydroquinone developer plus 2 
 ounces of water and no bromide. The develop- 
 ment should be carried on exactly as directed 
 for the contact method. If the exposure was too 
 long, the plate will develop rapidly, and will be 
 
46 
 
 smoky ; if it was too short, the plate will come 
 tip to a certain point and stop, and all the dodges 
 in the world wont help matters in the least. 
 
 To use the camera method by gaslight, another 
 and a rather expensive piece of apparatus is 
 needed, and that is a condensing lens of greater 
 diameter than the diagonal of the negative. 
 
 Camera Method. Artificial Light. 
 
 The author's apparatus is arranged as follows : 
 The Anthony lantern-slide camera is adjusted as 
 if for daylight, and placed upon a large table. 
 The negative is put in place, and a pair of 8-inch 
 plano-convex lenses, called a condenser, ad- 
 justed in front of, and as near as possible to, 
 the negative. A Welsbach incandescent gas 
 
47 
 
 burner is then adjusted before the condenser, so 
 that the image on the ground-glass is evenly 
 illuminated. Some care is necessary that the 
 lens, the negative, the condenser and the gas- 
 light are properly centered, in order to obtain 
 an equal illumination. 
 
 This arrangement is nothing but a modified 
 magic lantern, using the sensitive slide plate as 
 a screen. The exposures are regulated by the 
 flap shutter as before. The great advantage of 
 this arrangement is that the light never varies 
 and the results are uniform. 
 
 The Welsbach burner yields a beautiful, power- 
 ful white light, and has only one drawback, and 
 that is its delicacy. The carbon net or cone is 
 so delicate that a sudden jar will break it into 
 thousands of pieces. 
 
CHAPTER III. 
 
 DISEASES AND REMEDIES. 
 
 OOMETIMES the slide is beautiful, except for 
 O a slight haze or fog, caused often by over- 
 exposure and sometimes by too warm a de- 
 veloper. This may be removed without injuring 
 the slide by a careful and slow application of 
 the following medicine : Dissolve 24 grains of 
 hyposulphite of soda in i ounce of water. To 
 this add from three to ten drops of a satu- 
 rated solution of red prussiate of potash. This 
 should be added, drop by drop, just before it is 
 to be used, because the mixture does not keep 
 longer than fifteen or twenty minutes, and 
 should never be used except when freshly 
 mixed. This mixture forms a clearing and 
 reducing solution, the active power of which 
 depends entirely upon the amount of potash 
 added. The best results are obtained when it 
 is so weak that two or three applications are 
 necessary before any effect is seen. 
 
 After slides have been once dried, they do not 
 respond with any degree of comfort to this 
 treatment. It is best to apply it just after the 
 plate has been removed from the hypo and 
 rinsed off once or twice. Running water should 
 be convenient, so that the action may be checked 
 at any moment. Experiments upon worthless 
 
.t- ri - ' -r^rrr***^ 1 ' ; -~? 
 
 .'.'' J 
 
 WEST GATE, NURNBERG. 
 
 D. L. Elmendorf. 
 
49 
 
 plates should precede any attempts on a good 
 slide. 
 
 To apply this remedy a -inch camel's-hair 
 brush should be dipped into the mixture and 
 then brushed quickly, but gently, over the wet 
 slide in every direction, while in a horizontal 
 position; after which, the slide should be held 
 under the tap for a moment, and then ex- 
 amined. It is well to have the brush full of the 
 mixture before applying; otherwise, streaks may 
 appear. If not cleared enough, repeat the opera- 
 tion. By using a little judgment one part of 
 the slide may be reduced more than another at 
 pleasure. 
 
 Remember that the action will continue for a 
 short time after the slide is placed under the 
 tap. After treatment, the slide should be 
 washed for a few minutes, and then placed in 
 the alum solution, and then washed thoroughly. 
 
 2. Sometimes a slight veil or fog is caused by 
 the water used either in the making up of the 
 developer or for washing the plates. Croton 
 water is very liable to produce this effect. 
 Remedy dissolve ^ an ounce of citrate of soda 
 in 6 ounces of water, and pour this solution on 
 and off the plate. Sometimes it is necessary to 
 rub the plate with a tuft of absorbent cotton 
 wetted with the solution. 
 
 3. A sky full of opaque and transparent spots. 
 The opaque spots are sometimes in the emulsion 
 itself ; they are then incurable, but generally 
 they are caused by minute transparent places 
 in the negative, called a pinholes." Chemical 
 
50 
 
 dust, mentioned before, is another source of this 
 evil. 
 
 Transparent spots are often caused by poor 
 manipulations in the development, little bubbles 
 of air on the plate preventing the developer 
 from acting on those portions of the slide. 
 
 They may be prevented by rocking the tray 
 violently when the plates are first immersed. 
 Sometimes it is necessary to rub the plate with 
 the ball of a finger, which is wet with developer, 
 but only the gentlest pressure must be used or 
 the fUm will be scratched. A perfectly clean 
 camel's-hair brush may be used, if it is very 
 soft, but the delicate touch of the finger is 
 better. 
 
 It is sometimes possible to clear up such a sky, 
 without injuring the rest of the slide, by careful 
 applications of the red potash mixture ; but the 
 author prefers to block out the sky of the 
 negative with Strauss marl and make another 
 exposure. 
 
 4. The slide is very thin. 
 
 There are several causes of this disease ; 
 under and over exposure bring it on, and under- 
 development aggravates it. Correct exposure, 
 but not long enough development, will also 
 result in thinness. 
 
 Remedy make a new slide. 
 
 Having tried all the patent medicines labeled 
 " superb formulas " for the intensification of 
 slides, and failing in every case to make the 
 consumptive slide equal in any respect to a new 
 one exposed and developed correctly, the author 
 
51 
 
 recommends the above remedy as a safe and 
 sure one. 
 
 Intensifiers are like procrastination. 
 
 5. The slide is too thick and dark. This is 
 the result of over-development. Take a small 
 tray, fill it with cold water to a depth of one- 
 fourth of an inch, and add to the water ten 
 or twenty drops of the red potash solution 
 and mix it well. Place the thick slide, as it 
 comes from the hypo, without rinsing it at 
 all, in this tray, removing it every few moments 
 for examination. If no action takes place, re- 
 move the plate, add more potash solution, mix 
 well, and then immerse the plate again. If 
 properly adjusted this prescription will reduce 
 the thickness of the whole plate to any desired 
 extent. After treatment, wash under the tap 
 for two or three minutes, place it in the alum 
 solution for the usual time, and then proceed 
 with the final washing. 
 
 6. Curious stains on one or more corners of 
 the plate, caused invariably by some substance 
 foreign to the developer which had not been re- 
 moved from the fingers which held the plate. 
 
 Hypo, alum and red prussiate of potash take 
 fiendish delight in producing these beauty spots ; 
 so beware of their pranks. 
 
 Remedy none. Prevention is the best 
 policy. 
 
 7. Yellow tinge to the whole plate, often 
 caused by impure water, sometimes by old 
 and decomposed developer or hypo solution. It 
 may be remedied, but not always, by an appli- 
 
52 
 
 cation of the red potash solution as in the first 
 case. 
 
 An application of the citrate of soda will 
 sometimes relieve it. 
 
 Weak hydrochloric acid will clear the plate, 
 but is liable to take film and all with it. 
 
 This yellow tinge is sometimes inherent in 
 the emulsion itself, and is hopelessly incurable. 
 Get other plates. 
 
 8. Frilling. This peculiar disease is often 
 caused by exposing the gelatine film to sudden 
 changes of temperature. If a plate be removed 
 from a developer which is 70 degrees and 
 plunged into water or hypo at 45 degrees tem- 
 perature, the chances are that the edges of the 
 plate will frill. The gelatine expands and con- 
 tracts more rapidly than glass, and therefore 
 wrenches itself from its support, and seems to 
 swell up in places to such a degree that it loses 
 its power of contracting again to its original 
 size. The alum solution will sometimes stop 
 this, but will not remedy it. Lantern-slide 
 plates are not so liable to frill as the more rapid 
 negative plates, but it will happen on any plate 
 which was not properly cleaned before the 
 emulsion was applied. 
 
 There are many other diseases which are the 
 results of careless manipulations, dirty fingers 
 or apparatus and unpardonable thoughtlessness, 
 which may never trouble a careful worker. 
 
 Only a short diagnosis of the evils, common 
 to all, has been attempted. 
 
 Once again, allow sad experience to reassert 
 
53 
 
 that time, temper and money are saved by 
 making another exposure if the first was de- 
 fective in any respect. 
 
 Poor slides often make excellent cover glasses, 
 if they are free from bubbles and are well 
 cleaned. 
 
CHAPTER IV. 
 
 TESTING SLIDES. 
 
 OLIDES which appear to be very good while 
 vJ wet should be carefully examined when dry. 
 Generally they gain in density as they dry, es- 
 pecially if they are dried rapidly. 
 
 A very nice little instrument for testing slides 
 is called a lan- 
 ternoscope (see 
 cut), which con- 
 sists of a frame 
 holding a con- 
 vex lens, fast- 
 ened to a 
 folding bed on 
 which slides an- 
 other frame made to hold a lantern slide. This 
 is connected with the lens frame by a bellows 
 which excludes all light except that which 
 passes through the slide. Upon looking through 
 the lens at a slide inserted in place, an enlarged 
 image is seen, and the general quality of the 
 slide may be judged with great ease and 
 pleasure. 
 
 When one does not wish to go to the trouble 
 of lighting up the lantern, this little lanterno- 
 scope affords a convenient means of showing 
 slides to friends or to pupils in a class-room. 
 
 The best test, however, is the lantern itself, 
 
55 
 
 when tinder the conditions that the pictures are 
 to be afterwards exhibited. 
 
 Slides which are just right for a lantern with 
 oil light are not so for the oxyhydrogen jet. 
 Again, those which are suitable for the latter 
 are not the finest for the electric arc light. 
 
 Still further discrimination must be made 
 when the size of the screen is considered. A 
 slide which appears well upon a 6-foot screen 
 will be disappointing on a 2o-foot screen, ap- 
 pearing too dark because it is too thick. If 
 another slide, but not so thick, from the same 
 negative, be then projected upon the screen, 
 the difference will be apparent; whereas, if the 
 same pair of slides were judged upon the small 
 screen, the former would be pronounced 
 superior. 
 
 These points are rarely taken into considera- 
 tion by judges of " prize " slides, yet they must 
 be carefully weighed by the one who desires 
 perfection on the screen. 
 
 Oil lamps of the best construction will project 
 enough light through suitable slides to illuminate 
 an 8-foot screen fairly well, but it is impossible 
 to get a sharp image with any form of oil lamp 
 because the source of light is not an approximate 
 point. 
 
 The oxyhydrogen jet will illuminate slides 
 adapted to it when magnified up to 20 feet 
 square. For many reasons the author prefers 
 this form of light to any other at present. 
 
 The electric arc should be used when any 
 greater magnification than this is desired. The 
 
56 
 
 author deprecates the use of the electric arc for 
 projecting lantern slides upon small screens, 
 and considers the effects very glaring and un- 
 pleasantly cold. 
 
 The arc light is superb for microscopic pro- 
 jections and for slide projections upon enormous 
 screens or upon small screens in the class-room 
 in ordinary diffused daylight. 
 
 As many may prefer to make up their own 
 developer, several formulas will be given as 
 used by the author. Some may be able to get 
 better results from other formulas, and they had 
 better do so ; the author has not. There is 
 nothing original about the following devel- 
 opers 
 
 I. 
 
 Saturated solution of oxalate of 
 potash 5 ounces(fluid). 
 
 Saturated solution of iron sul- 
 phate i ounce ' ' 
 
 Pour the iron into the oxalate, never vice 
 versa, and add three to five drops of saturated 
 solution of bromide of potash. 
 
 This developer gives beautiful results, rang- 
 ing from gray to brown, according to the expos- 
 ure, but will not keep long after mixing. 
 
 II. HYDROQUINONE DEVELOPER. 
 A. 
 
 Hydroquinone 15 grains. 
 
 Sulphite of soda crystals 44 " 
 
 Bromide of potash 13 " 
 
 Water (pure) to make a total bulk of 10 ounces. 
 
57 
 
 B. 
 
 Carbonate of soda 90 grains. 
 
 Carbonate of potash 90 " 
 
 Water (pure) to make a total bulk of 10 ounces. 
 
 Take equal portions of A and B, to form a 
 normal developer. 
 
 This is the most convenient of all developers, 
 as it may be used until it begins to act too slow, 
 when half of it should be thrown away, the re- 
 mainder filtered, and then an equal bulk of fresh 
 developer added. 
 
 When made with pure chemicals and with 
 distilled water, it will keep indefinitely. 
 
 III. METOL. 
 
 Water 60 ounces. 
 
 Sulphite of soda crystals 6 " 
 
 Metol i ounce. 
 
 Bicarbonate of soda 3 ounces. 
 
 Bromide of potash (10 per cent.), a few drops. 
 
 Dissolve in the given order. 
 
 This is the Cramer formula, and works well, 
 but requires a shorter exposure than either 
 I or II. 
 
 It is often necessary to project maps, dia- 
 grams, formulas, special solutions of problems, 
 comic drawings and the like upon a screen at 
 short notice. 
 
 In order to make a photographic slide of any 
 of these subjects, the drawing must first be 
 photographed and the slide then made from the 
 negative, a long and expensive process when 
 the slide is for temporary use only. 
 
58 
 
 During 1 a long 1 experience in teaching" the 
 deaf, using the lantern as a means of illustrat- 
 ing the various branches of study, such as 
 geography, history, physics, etc., and for the 
 purpose of entertainment, some means of writing 
 upon the slides was necessary. In a happy 
 moment, carbon transfer paper was thought of 
 and tried with great success. 
 
 By simply laying the carbon paper upon the 
 clean cover glass of the slide and then super- 
 posing a piece of thin, smooth-finished paper, 
 any inscription written on the paper with the 
 sharp point of a hard pencil will be found per- 
 fectly transferred upon the glass if the latter 
 was perfectly cleaned beforehand. Comic 
 drawings, in fact anything of the kind of suit- 
 able size, may be transferred by this simple 
 process of tracing. 
 
 The transfer slide should be matted and 
 mounted as an ordinary slide. By transferring 
 upon a gelatine surface which has been treated 
 with alum, color may be applied. 
 
CHAPTER V. 
 
 How TO COLOR SLIDES. 
 
 "T^OOLS step in where angels fear to tread" 
 1 expresses the author's feelings when 
 about to attempt the description of that which 
 is indescribable. 
 
 The first rule to be learned and obeyed is, 
 don't color slides, but tint them. 
 
 Unless one has real artistic feeling and a knowl- 
 edge of tone and color, the slides had better 
 remain as the developer made them. 
 
 Having tried every kind of pigment, paint 
 and coloring matter obtainable, the author has 
 settled down to a few aniline dyes, which have 
 now stood the test of ten years very well. 
 These were not chosen because they are easy to 
 apply in fact, they are much more difficult to 
 use than some of the pigments mixed with 
 Canada balsam, Damar varnish and other medi- 
 ums but because of their brilliancy and won- 
 derful lack of "grain," even when greatly 
 magnified. 
 
 The wail from some quarters that aniline 
 colors are fugitive is quite true in a general 
 sense, but by accident the author stumbled upon 
 a certain addition which not only makes the 
 colors quite permanent, but also prevents 
 " creeping " when properly applied. After care- 
 ful tests for ten years, the author now feels that 
 
60 
 
 the colors are reliable, and will soon prepare 
 them in quantity for the use of others. 
 
 Unfortunately they are expensive, but when 
 the quantity necessary for ten slides is meas- 
 ured and the cost of the same computed, this 
 bugbear disappears. Ten drops of some of the 
 colors will color fifty slides. 
 
 The principal colors prepared by the author 
 are : 
 
 1. Light yellow. 
 
 2. Dark yellow. 
 
 3. Orange. 
 
 4. Crimson. 
 
 5. Vermilion. 
 
 6. Dark brown. 
 
 7. Maroon. 
 
 8. Blue No. i. 
 
 9. Blue No. 2. 
 10. Violet. 
 
 These ten colors are the elements from which 
 countless tints may be formed by mixing one 
 with another in various proportions. 
 
 The colors are very concentrated, and most 
 of them should be diluted with clear water 
 before applying. 
 
 The amount of water to be added must be 
 ascertained by experiment in order to obtain 
 the depth or strength of color desired. 
 
 Light yellow and orange mix in all propor- 
 tions, forming various tints. The mixture 
 should be diluted with about an equal quantity 
 of water unless powerful colors are desired. 
 
D. L. Elmendorf. 
 
 A WHITE- ASH BREEZE, HOLLAND. 
 
61 
 
 Light yellow and crimson form useful tints 
 for evening- sky effects, and for flesh tints of a 
 brownish tendency. Should be diluted before 
 applying. 
 
 Light or dark yellow and vermilion in various 
 proportions give endless gradations from the 
 one to the other, and this is the chief mixture 
 for flesh tints. Vermilion is the most powerful 
 of all the colors, and should be diluted very 
 much. 
 
 Light yellow and blue No. i mix in any pro- 
 portions, forming pale greens. Should not be 
 diluted. By adding some dark yellow, warmer 
 and more brilliant greens are obtained. 
 
 The coldness or warmth of the green depends 
 upon the amount of yellow added to the blue. 
 
 Dark yellow and blue No. 2 yield intense 
 greens, and are especially useful in contrast 
 with those of blue No. i. Should not be diluted 
 except in special cases. 
 
 Orange and blue No. 2 yield a splendid variety 
 of earthy yellows and olive greens, which are 
 very valuable for foregrounds, dead grass, etc. 
 
 A very slight addition of vermilion gives rich 
 ochre tints. She '. be diluted as necessary. 
 
 After applying these orange and blue mixt- 
 ures it is well to wash off the slide with the 
 same brush wet with water only, to prevent any 
 deposit, which sometimes occurs. 
 
 Maroon and the yellows produce numerous 
 tints, passing from yellow and brown to maroon. 
 Should be diluted. 
 
 Dark brown is a reddish brown, and should be 
 
diluted only a little, say with equal parts of 
 water, unless a very pale tint is required. It will 
 mix with other colors for a variety of tints. 
 
 Crimson should always be diluted with a large 
 quantity of water. 
 
 Blue No. i, when diluted with 5 to id parts 
 of water, is suitable for skies and water, remem- 
 bering that water reflects the sky and other 
 objects above it, so that plain blue will not 
 always answer for water, even when suitable 
 for the sky. 
 
 Each portion of the day and the year has its 
 own peculiar tints, both in sky and water, nor 
 are all portions of either alike at the same time. 
 One must study these wonderful color effects in 
 Nature if any realistic results are to b_e hoped 
 for. 
 
 Blue No. 2 is a greenish blue, suitable when 
 diluted for either sky or water under certain 
 conditions of atmosphere and light. 
 
 Violet, although apparently a powerful color, 
 is not so, and is difficult to manipulate. It does 
 not mix well with other colors, but beautiful 
 purple tints may be obtained by first applying 
 the violet to the part to be colored, and then, 
 after it is set, but not dry, applying a very weak 
 solution of vermilion until the desired tint is 
 obtained, a process of blending which is quite 
 difficult to the uninitiated. 
 
 With these few hints as to mixing the colors 
 for various tints, the author hopes that the way 
 is made clear. Thousands of tints may be ob- 
 tained after the same manner. 
 
REQUISITES. 
 
 i. A nest of white porcelain saucers should 
 be obtained, such as microscopists use. They 
 are invaluable for slide work, as each saucer 
 forms a cover for the other, so that all dust is 
 excluded. 
 
 2. Each color should have a brush of its own, 
 which should never be used for any other. The 
 author uses three each for the majority of 
 colors, Nos. 2, 3, and 4, soft round camel's hair. 
 
They should be well made, and come to a point 
 when wet. 
 
 For skies and water, or for general tints and 
 blending, half-inch flat camel's-hair brushes 
 should be used. 
 
 3. A large glass, capable of holding a pint of 
 water, should be at hand, convenient for imme- 
 diate use at all times. 
 
 4. For the purpose of adding water to the 
 colors, there is nothing better than a rubber 
 pipette, often used as medicine droppers, or for 
 filling fountain pens. 
 
 5. A clean cloth attached to the table for the 
 purpose of wiping color from brushes. 
 
 6. A retouching frame, such as is used for re- 
 touching negatives with a very fine ground- 
 glass. 
 
65 
 
 The author colors all his slides by means of a 
 Welsbach incandescent gas burner, which gives 
 a quality of light almost exactly like the oxyhy- 
 drogen jet. 
 
 7. A room without hangings, draperies, or 
 carpet. The floor should be dampened before 
 beginning the coloring. A room especially ar 
 ranged for the purpose is advisable if the col- 
 orist desires any comfort at all in the work. 
 Dust is a most vexatious nuisance. One little 
 particle falling on the wet slide will stick closer 
 than a brother, and will be painfully evident on 
 the screen. 
 
 The gelatine surface of the slide takes the 
 colors well if it has been treated with a satu- 
 rated solution of alum as directed under de- 
 velopment. The slide to be colored should be 
 placed on the ground-glass of the retouching 
 frame with a narrow strip of wood, about an 
 eighth of an inch thick, under the lower edge 
 so as to raise the slide slightly from the ground- 
 glass, in order to prevent capillary attraction. 
 The mirror and light should be adjusted so that 
 the slide is properly illuminated. The sky 
 should be colored first, and it is sometimes ad- 
 visable to turn the sky toward the bottom or 
 sideways during this part of the work ; " gump- 
 tion " will suggest the most convenient posi- 
 tions. Put a few drops of blue No. i in a saucer 
 and dilute it with 8 parts of water, more or 
 less. Take the half -inch blue brush, wet it full 
 of clear water and moisten the sky evenly and 
 thoroughly, using plenty of water in the brush. 
 
If the brush is not full of water it is liable to 
 stick to the gelatine or cause lines. Then draw 
 the brush between the thumb and forefinger to 
 remove most of the water, dip it in the dilute 
 blue color in the saucer, and brush quickly back 
 and forth over the wet sky. 
 
 Don't allow the brush to stop on the slide. By 
 using dilute color and applying many times, a 
 perfect sky may be obtained. 
 
 When a blended sky is desired, first wet the 
 plate as before and take the half-inch orange 
 brush, dip it in a very weak solution of orange 
 or any other color and paint the lower portion 
 of the sky with it, then dip the brush, still full 
 of color, in clear water and gradually work up 
 toward the zenith with this very weak color, 
 then wash out the brush in water and blend 
 from the bottom to the top of the sky. Then 
 take the blue brush and wet it with water, dip 
 it in the dilute blue color and brush across the 
 zenith of the sky, gradually blending the blue 
 down about half way. This blending operation 
 is very difficult to describe ; it really ought to 
 be seen to be thoroughly understood. The 
 plate should be turned so that the color does 
 not flow down over the foreground. 
 
 Large expanses of water are treated in a 
 similar fashion. 
 
 Any number of harmonious tints may be 
 blended in the same way, being careful to blend 
 the colors in their proper order. 
 
 The author's method is to color the skies of 
 several slides and place them in a drying rack 
 
67 
 
 to dry before any other coloring is attempted. 
 
 When the sky is dry, other portions of the 
 slide may be colored by applying the color to 
 the dry gelatine. 
 
 Never try to apply another color to the slide 
 until the first one has dried, unless blending is 
 the object in view. In coloring trees, first give 
 them a general pale tint of green and then work 
 out each tree in detail with various tints of 
 green. 
 
 Detached branches of trees, and conspicuous 
 leaves demand careful treatment, which needs 
 long practice, a steady hand, and an accurate 
 eye. Flesh needs most careful treatment, and 
 careful and repeated application of very dilute 
 colors, until the desired effect is gained, is the 
 best method. It is not always necessary to color 
 every part of a slide. Very frequently the slide 
 in some portions presents the natural appear- 
 ance of the object, and color would only detract 
 from the general effect. 
 
 If the slides are colored by ordinary daylight 
 the effects will be rather surprising when viewed 
 at night by means of the lantern. The arc light 
 will reproduce the colors almost similar to day 
 light, but neither oil or gas will accomplish this 
 for physical reasons which were mentioned in 
 the introduction. Therefore the author uses 
 the Welsbach incandescent gas burner as the 
 means of illumination. Slides should be colored 
 for the light used in projecting them on the 
 screen, and used with that light and no other. 
 
 After one slide has been colored successfully, 
 
so that the worker is satisfied with its effects on 
 the screen, other slides may be colored by ordi- 
 nary daylight, using this slide as a guide to 
 color. 
 
 Night effects may be obtained, by developing 
 the slide very dark and then coloring the whole 
 with blue No. i, undiluted. 
 
 In mixing the colors, pour out one or more 
 drops of color into a saucer and add water by 
 means of the pipette. Never put a brush into 
 the bottle of color. 
 
 In conclusion, allow the author to beseech 
 anyone without " an eye for color " to leave 
 coloring severely alone. 
 
 Some may be like the Irishman the author 
 met last summer at Killarney, who, when ques- 
 tioned as to the benefits of Home Rule if they 
 got it, replied : 
 
 "We don't know thot, but we're bound to 
 have it." 
 
ANTHONY'S 
 Lantern-Slide Camera 
 
 IS WELL MADE, LIGHT AND SIMPLE 
 OF CONSTRUCTION. 
 
 Has an oscillating frame carriage for ground- 
 glass and plate-holder. Can be used also for 
 copying. 
 
 Highly endorsed by D. L. Elmendorf. 
 
 Price, - $12.00 
 
 Special holders, - 1.50 
 
 E. A. single lens for above, 3.75 
 
 For sale by all dealers and by 
 
 K. & H. T. ANTHONY & CO., 
 
 SQI BROADWAY, NEW YORK. 
 
RRICK, 
 
 A novel and 
 beautiful con- 
 trivance for 
 viewing lantern 
 slides without 
 the aid of the 
 lantern. Made 
 of finely finished 
 mahogany. 
 
 $10.00 
 
 ANTHONY'S FOLDING NEGATIVE RACK. 
 
 For holding 24 plates while drying. 
 
 Strongly made and very useful. 
 Price, - 
 
 40 cents. 
 
 E. & H. T. ANTHONY & CO., 591 Broadway, New York. 
 
ANTHONY'S PATENT 
 
 Improved Printing Frames 
 
 are absolutely unequaled. A tongue 
 and groove in the hinged back prevent 
 the fogging of the plate from the back. 
 
 Padded back, spring tally for recording 
 number of prints, celluloid tablet, and springs 
 of the best quality. 
 
 8 x io 
 
 RRICKS 
 
 $0-36 5 x 7 
 - -38 5x8 
 .40 6^x8^ 
 
 $0.50 
 
 S 2 
 .60 
 
 . & H. T. ANTHONY & CO., 
 
 591 BROADWAY, NEW YORK. 
 
ANTHONY'S 
 H YDROQUINONE DEVELOPER. 
 
 The excellent qualities of this article and its 
 convenience for use are possessed by no other 
 ready-prepared developer on the market. 
 
 Highly endorsed by Prof. D. L. Elmendorf 
 and other authorities. 
 
 Price, per 8 oz. bottle, 
 per pint bottle, 
 
 30 cents. 
 55 " 
 
 are known the world over as the purest and 
 most reliable. 
 
 Red prussiate of potash, per oz., 
 
 Hyposulphite of soda, per lb., 
 Alum, per lb., 
 Potassium bromide, per oz., 
 Acid sulphite of soda, per pint, 
 
 .10 
 
 - .08 
 .10 
 
 - .12 
 
 .40 
 
 E. & H. T. ANTHONY & CO, 591 Broadway, New York. 
 
 IV 
 
LANTERN-SLIDE BINDERS. 
 
 These are black gummed strips for binding 
 slides and will be found very useful. 
 
 Price, per package of 50, - 15 cents. 
 
 SHEPLIE'S GUM PAPER. 
 
 Recommended by D. L. Elmendorf for bind- 
 ing lantern slides. 
 
 Sold in rolls containing about 300 yards. 
 
 Price, per roll, 60 cents. 
 
 COVER GLASS FOR LANTERN SLIDES. 
 
 Thin crystal glass, free from blemish, and 
 especially made for lantern slide work ; the best 
 glass, being of the proper thickness. 
 
 Price, per dozen, 30 cents. 
 
 CAMEL'S-HAIR DUSTERS. 
 
 For dusting plates. Made of the best 
 material. 
 
 i inch, - $0.20 I 2 inch, - $0.40 
 ii " - - -30 I 2 " - - .65 
 
 E. & H. T, ANTHONY & CO,, 591 Broadway, New York. 
 
ELMENDORF'S 
 
 Lantern-Slide Colors. 
 
 The only colors that will give satis- 
 factory results for lantern-slide tinting. 
 Put up in concentrated form ; each box 
 containing ten bottles of color. 
 
 CO I^O RS. 
 
 Light yellow, Brown, 
 
 Dark yellow, Maroon, 
 
 Orange, Blue No. i, 
 
 Rose, Blue No. 2, 
 
 Vermilion, Violet. 
 
 PRICE: 
 
 No. i, $1.50 
 
 " 2, - - 2.50 
 
 For Sale by all Dealers and 
 
 E. & H. T. Anthony & Co., 
 591 BROADWAY, NEW YORK. 
 
 VI 
 
CRITERION MAGIC LANTERNS 
 AND STEREOPTICONS 
 
 may be used with Oil, Lime, Welsbach 
 Gas, Incandescent or Arc Electric Light, 
 interchangeably. 
 
 NEW SELF-FOCUSING ARC 
 ELECTRIC LAMPS. 
 
 Light perfectly centered constantly. 
 Used in many institutions, and by men 
 of highest professional standing. 
 Correspondence solicited. 
 
 J. B. COLT & CO., 
 
 Patentees and Manufacturers, 
 MAIN OFFICES 1115 and 117 Nassau Street, NEW YORK. 
 
 AGENCIES : 
 
 33, 35 and 39 So. loth Street, 189 La Salle Street, 
 
 PHILADELPHIA, PA. CHICAGO, ILL. 
 
 50 Bromfield Street, i3i-Post Street, 
 
 BOSTON, MASS. SAN FRANCISCO, CAL. 
 
 Cut shows Criterion Lantern with Welsbach Gas Burner. 
 SEND FOR CATALOGUE. 
 
 vii 
 
GRIDIRON 
 
 SATURATOR 
 
 does away with oil lanterns. No need to 
 use gas or hydrogen. Only oxygen 
 required. 
 
 Safe, simple, sure, portable, powerful ; 
 can be used in any ordinary magic-lantern. 
 
 SEND FOR CIRCULAR. 
 
 E. & H. T. ANTHONY & CO., 
 
 591 BROADWAY, NEW YORK. 
 
 Vlll 
 
VERYTHING necessary for the mak- 
 ing of negatives and lantern slides 
 will be found in our revised, illustrated 
 catalogue. Cameras of all sizes at all 
 prices, Dallmeyer Lenses, Entrekin Burn- 
 ishers, and, in fact, everything and any 
 thing necessary to the professional and 
 amateur photographer. Publishers of 
 
 ANTHONY'S 
 
 PHOTOGRAPHIC 
 
 BULLETIN, 
 
 a monthly journal for photographers ; 
 price per copy, 25 cents ; per year, $2. 
 
 E. & H. T. Anthony & Co., 
 
 591 BROADWAY, NEW YORK. 
 
 ix 
 
j