The Wheeling daily intelligencer. [volume] (Wheeling, W. Va.) 1865-1903, 1899-12-11
A1nateurs&
Photography,


The process pursued by n. Gabelle in
producing his pictures in gold has been
explained by him to the French Photo
graphic Society. The combined toning
and fixing bath is composed as follows
Old and exhausted tone-hxing bath, $50
cc.-new bath ((alum 30 grams, hypo
5000 grams, acetate Of lead one gram,
water 1000 gramD $50 &C.; ! per cent
chloride Of gold solution 8 &C.. says the
New York Sun. This mixture is all
lowed to remain ct rest for two days
before It Is used, and the toning in It
must be long and complete, 50 as to re-
place practically all the silver in the
image with gold: 20 to 30 minutes suf-
fee in the toning bath, and, after about
three hours' washing the prints are Inn
mersed in a weak solution Of mercurlc
chloride, prepared by mixing one vol
ume Of a saturated solution with tWen-
ty volume Of water; the bleaching OF
the silver image Is tolerably rapid IN
this solution, the gold tonlng alone re-
naming. A gold-toned silver print. II
treated with mercuric chloride. becomes
bleach9d so far as the silver image s
concerned. and the remaining gold I'M
age may be red, purple OF violet
According to the experiments Of Pill
va and Weiss, placques Of wood can PC
printed upon by the action Of light
through paper, tin, fabric or negative.
To prevent the pattern from moving IL
should be fixed to the wood in one or
two places, The whole Is then laid In
the printing frame. Splints should be
used to prevent the wood from split
ting and Wrapping. The exposure to the
sun should be from eight to fourteen
days. When the wood has been sum
ciently Drowned, the resulting design
may be fixed either by polishing OF by
a coating Of varnish or wax.
The numerous experiments mace
show that for this work wood made
from trees with pointed leaves such as
pines, is most suitable, as after expo
sure II assumes Yell0wish- Thrown tone
which shines beautifully like gold.
which becomes especially strong after
polishing and which cannot be obtain
ed by any other etching or burning
method. The drawing Is sharper and
clearer, says the practical Photo
grapher," than in painting, and the
whole effect is very pleasing
Now that a great deal Of the outdoor
work for the camera enthusiastic is
lessened the thoughts turn more to in-
door and fashlight work, and the fol-
lowing hints may prove helpful TO
those who are not so far advanced as
to scorn advice. In selecting the back
ground get one Of q rough material
which will to a great extent avoid vios
lent shadows by absorbing the light,
and in getting 1t procure enough to
trail on tho floor and make a contiuu-
Gus floor covering. Now place the sit
ter about three feet from the back
ground. This method enables rich tex.
lures Of fabrics to be especially we'll
produced. Now as to the flashlight
proper: Place II about eight feet from
the floor, so that It will cast a slight
shadow under the eyes, and place 1t
slightly IN front and at right angles to
the camera. Heavy shadows may be
relieved by placing white sheet as q
reflector at right angles to the subject
on the opposite side from the lamp, OF
course. A Rembrandt eject may be
produced by placing the lamp in a box
slightly behind and almost at right an
giles to the sitter. with the open end
pointing thereto, Conduct Development
so as to avoid density, and II pyro de-
veloper be used It should be Diluted
and weak in pyro and bromide.