The American annual of photography . givingus a soft print full of details instead of the usual black andwhite effect. Now let us develop the other sheet in B (Figure 2). Thiswill develop much slower, the whole paper seeming to fogover at first, and both the shadows and high lights graduallybuild up the former to a dense reddish black, and the latterto clear white, which shows that this developer would be theproper one for flat negatives, as it will increase the contrasts. 154 Now let us mix equal quantities of A and B together, andtry a third sheet with the same exposure, and we will get asti
The American annual of photography . givingus a soft print full of details instead of the usual black andwhite effect. Now let us develop the other sheet in B (Figure 2). Thiswill develop much slower, the whole paper seeming to fogover at first, and both the shadows and high lights graduallybuild up the former to a dense reddish black, and the latterto clear white, which shows that this developer would be theproper one for flat negatives, as it will increase the contrasts. 154 Now let us mix equal quantities of A and B together, andtry a third sheet with the same exposure, and we will get astill different result—a combination of the two, not so soft asA alone, nor so harsh as B alone. The proportions of A andB can be varied to produce just the right effect desired. Now let us try another experiment. We will expose an-other sheet of paper, but instead of giving it a normal expo-sure we will give it six times as long, that is, if we were givingthe other, say, ten seconds, we will give this sixty. Now de-velop this in Figure 2. We find that it develops just as slowly as before, but startsin a warm red tone, gradually turning to sepia and a deepbrown, and, of course, to a dense black if carried far enough,but should be taken out and placed in the hypo as soon as thedesired shade is reached. Exposures of as high as ten times normal can be made andvery pleasing prints obtained from otherwise impossible nega-tives. Having carefully studied the working of these develop-ers on paper, let us see how they will apply to plates. 155 Under-exposed plates are usually harsh. This means de-veloper A for softer effect. For a known under-exposure,therefore, we will i:se A, but as we have found this a veryrapid developer it will be better to dilute it with one or twoparts of water, so as to give a little more time to observeresults, in case they are not as much under-exposed as wethink. Over-exposed plates are full of detail, but are flat, and lackcontrast; so for a known over-ex
Size: 1826px × 1368px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, bookpublishernewyorktennantandw
