urse,
presuming that we classify our negatives and enlarge from those of the
same quality at the same time.

One great objection to the use of bromide paper is that it must be handled
in a dark-room. But this objection is not as serious as it may seem. An
ordinary living room at night furnishes a delightful place in which to
make prints, if we handle our solutions with reasonable care. The ruby
glass can be removed from the dark-room lamp, and the orange glass used
alone. But in this case, as indeed with the ruby light, care must be taken
to guard against too much light. Development should be conducted at a
distance of several feet from the light, and when almost completed, the
tray can be brought close under the light to enable the worker to stop it
at exactly the right moment. Ordinary bromide paper is about as sensitive
as the process or slow dry plate or the average lantern-slide plate, and
requires as much care as either, but not nearly so much as the most rapid
dry plates. If fogging is noticed, of course additional precautions should
be taken at once.

CHAPTER III

CONTACT PRINTING ON BROMIDE PAPER

Nothing more than will be found in an ordinary dark-room will be found
necessary in bromide printing by contact, unless it be some arrangement
for determining readily the distance of the negative from the source of
light. For this purpose and with an oil-lamp, use a board a foot wide and
about three feet long placed on the developing bench against the base of
the dark-room lamp. It should be marked with black lines six inches apart.
See Fig. 2.

[Illustration: Fig. 2]

Greater uniformity in lighting will be gained if a piece of white
cardboard be placed immediately behind the flame. Some lamps have
reflectors, in which case the card is unnecessary, provided that they
reflect the light uniformly; otherwise such reflectors are worse than
useless.

Having arranged the needful apparatus to our satisfaction, the last
preparatory step before manipulation is the making up of a developer.
Almost any of the modern developers (pyro excepted) will give good results
with bromide paper. In every package of paper will be found the developers
advised by the manufacturer of the paper used. Invariably there is among
these a formula for ferrous oxalate developer. This is probably the best
of all developers for pure black tones, but I cannot advise the novice to
take it up in the early stages of his work with bromide pape