. The American annual of photography. fx5 wm >I—I w W fin< 235 It is very easy to grasp the need of reversion if Figure i iscarefully studied. Let A represent the object, B will then bethe negative of the same and C the print. Obviously the lefteye print would in this condition be seen by the right eye,which is wrong. To set this right is very easy when you know how, but it isvery easy to make a muddle of it. Place the print face downon the table, with the top away from you and across thedividing line draw a light pencil line as shown in Figure cut down the dividing line and turn t


. The American annual of photography. fx5 wm >I—I w W fin< 235 It is very easy to grasp the need of reversion if Figure i iscarefully studied. Let A represent the object, B will then bethe negative of the same and C the print. Obviously the lefteye print would in this condition be seen by the right eye,which is wrong. To set this right is very easy when you know how, but it isvery easy to make a muddle of it. Place the print face downon the table, with the top away from you and across thedividing line draw a light pencil line as shown in Figure cut down the dividing line and turn the prints over sothat the pencil lines come on the outside of the prints, and itwill at once be seen that the prints are in their right Figure 3. There are many rules and plans for trimming the prints, butone of the most effective is the following which gives theeffect, if a dark mount be used, of seeing the picture througha frame. We must first of all decide as to the size of the pic-ture and this should not be more than 2^ ins. wide and y/2ins. in height, and there should be one-eighth of an inchseparation between them. To obtain the framed effect the prints should be trimmedso that there is one-eighth of an inch more subject shown onthe left-hand side of the left-eye print than that of the right-eye print, and there should be the same amount more on theright side of the right-hand print than on that of the left-eyeprint. 236


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