n the screen, correcting slight errors by length of development,
and greater ones by modifying the developer by diluting or strengthening.

It should be remembered, however, that in judging exposure by reference to
the screen, we must consider the high lights, as well as the shadows. It
is in the high lights that we need the detail if we are to have soft
pictures. If this detail in the high lights is plentiful and clear we may
know that our light is strong enough for a very short exposure. If it is
very faint, we will have to give a long exposure and use diluted developer
to save the over-exposed shadows. On the other hand, if the image on the
screen is a flat one, we may know that our light is too strong for the
negative, and it must be modified by removing the reflector or by
interposing ground or yellow glass; and if neither of these suffice, we
can simply lay the negative aside for a dark day when the light will be
very much weaker. Frequently all necessary contrasts can be obtained by
the use of the _hard_ paper before referred to. As under-exposure tends to
increase contrasts, we should also give the minimum exposure in the case
of flat negatives, abandoning for a time our standard one-minute
development. As will be seen by this time, there are many wrinkles about
using bromide paper, and it will be found that new ones appear at every
_seance_ in the enlarging room.

But why is it that so many of our enlargements are black in the shadows
and chalky in the high lights? Why, simply because our light is too weak
for our negative. We forget that if we cannot modify our negative we must
modify our light. It is this characteristic of the bromide enlargement
which has prevented the process from enjoying the popularity it deserves.
And I sometimes wonder whether this chalkiness is due to the use of the
north light!

CHAPTER VI

DODGING, VIGNETTING, COMPOSITE PRINTING AND THE USE OF BOLTING SILK

Of all printing processes, bromide enlarging offers the best opportunities
for successful dodging and modification. We can cut our light down and
take all the time we want, or we can take as little time as we want. A
hand, a finger, a slip of paper, or anything within reach, will suffice to
shade the light just as we want it. In this connection it is well to
always hold the shade nearer the lens than the easel, as greater diffusion
results and there is less danger of sharp lines. In shading a foreground
to bring up a d