The Art and Practice of Silver Printing

ives to secure the best of prints. With moderate negatives it is absolutely essential that they should be improved. Let us take the e

trial print will show whether the object is attained. If still not satisfactory, crayon in powder from the scrapings of a stick of crayon, or blacklead, may be applied by a stump to the parts requiring it. It may happen that the effects of the tissue paper may be seen in the print by the light penetrating beneath it, and causing the edges of the shadows to print too dark. In this case, which may arise from the negative being taken on a thin glass plate, the parts covering the high lights, and which were cut out, should be indented with a jagged edge such as this, the dotted line showing where the cut would come if it ha

g.

cing agent may be applied locally. Let us suppose the case of a figure in a landscape in a light dress, which produces a white patch in the print. The negative should be placed in a dish of water, then lifted up until the part to be reduced is just above the level of the water; a solution of perchloride of iron should then be applied to the part with a camel's-hair pencil, care being taken that it does not spread over the edges or ru

elatine plates which require reduction with water applied by a paint-brush, and afterwards, with another, applies the cyanide. The reduction can

recipitated silver is dissolved away by nitric acid, and the developer applied again. By this means, the density in the high lights may be doubled if required. It must again be repeated, that in all cases the use of emulsion requires great care, seeing that if any get on the varnished surface, markings are sure to

er. It must, however, be remembered that the lights of distant objects are greyer than those of the foreground, hence the tissue paper must be used with judgment to prevent the distant lights from appearing too white. This sometimes is effected by giving the lights in the foreground a covering of tissue paper. We very much doubt if there exists any landscape negative which would not be improved by the use of tissue paper, since photography often tends to do away with atmosphere. We have, in some cases, strengthened the high lights on the film side with the paint-brush and

radations of a negative are never perfect, and the use of the

nting negative;" the advisability of doctoring poor negatives is scarcely open