Omaha daily bee., 1907-03-23

is obtained by using a paper which will
take a dark sepia tone, when an effect of
bronze may be produced of surprising
naturalness.
The success Of the bass-relief effect de-
ponds largely upon the subject used. A
little practice will soon show what pic
lures lend themselves best to the process.
Pictures of buildings, in fact, any view
which reproduces many straight lines, will
make good bass-renef effects, but It is best
to have the lines as simple as possible and
the general effect broad and well defined.
When the pictures show a complicated de-
sgn, as of a very deliberately ornamented
building, the effect is likely to be con-
fusing. Portraits, especially profles, make
good relief effects. Some of the most sue
cessful of these pictures are made from
pictures Of foliage, especially of the heavy
foliage of trees or Of thick shrubbery.
Choice of Negatives.
A fairly good negative should be used
in making the bass-relief 1t is important
that the lines be as sharply defined as pos
sible. A cloudy negative, or one in which
the image is not very sharp, will be found
less satisfactory. The only outfit neces-
sary is that which will be found in any
Photographic dark room or in the possess
sion Of any amateur who develops and
prints his own pictures. A printing frame,
a number of films and an ordinary develop
ing solution, with trays, will be all that is
necessary.
The effect Of hatness in a bass-relief is
due obviously to the lack Of contrast be-
tween the shadows and the high lights
The whole picture is dulled, in other words
since the high lights have lost their clear
ness, while the shadows or darkened sur
faces are lightened. The edges, again,
seem to cast a shadow, thus affording the
appearance Of relief or raised surfaces
Now, to produce this effect. a positive is
first made from the negative. exactly re-
producing It, of course, in size Now place
the positive and negative together. so that
one image exactly overlaps the other, and
the effect of a bass-relief is exactly re-
produced The dark places in the negative
are white in the positive and the white
places are, of course, reversed in the
same way. One image exactly nullihes the
other, and IL print be made through this
combination the effect is an exceedingly
fiat and embarrassing picture.
In making the print, however, IL the two
images be slipped a trife to one side or,
rather, toward one corner, the images no
longer overlap exactly and a dark line is
introduced below and to the side Of every
line in the original picture. If a print now
be made through the negative and positive
the appearance of fairness is thrown into
relief by the Swallowed line and hence the
effect of bass-relief. 1t is, of course, i'm
portant that the positive and negative
should both have about the same density
so that the shadows will be neutralized
and the effect be as fiat as possible.
Large and Small Negatives
In case the original negative be a small
one It will be possible to make a single
positive from it, and afterward as many
prints as are desired from the two. In
case the negative is a large one-even
FIVE by seven inches or more-it will be
found that the Aim in drying contracts
slightly and will not correspond with the
original negative when it comes TO max
| ing the print through them both. II is
! therefore better to make a positive on a
! film, and when this is dry make a mega
tive in turn from this positive, also on a
| film. When these two are dry they will
/ be found TO exactly correspond. II is
obvious, of course, that the postives, or
! the secondary negatives must be made on
| films in order to retain the proper focus.
| If 1t were necessary to print through
| glass with a film on the reverse side the
| lines would be dulled and the sharp effect
! on which the basS-relief depends for its
/ effect would be lost.
When the positive and negative are both
/ dry they should be placed face to face and
/ printed in the ordinary way In a printing
/ frame. II two films are being used it will,
/ of course, be necessary to place a clear
/ glass in the frame. Now put the negative
I and positive together, so that the two
/ pictures exactly correspond or overlap.
and holding them up TO the light move
| one film slightly toward one corner, pref
| erably the lower right hand corner. When
| the two are adjusted lay them in the
/ frame on a table, still keeping one hand
/ firmly on the prints TO prevent them slip
\ ping. Next place a sheet Of sensitized
/ paper in the frame and clamp In the or
/ binary manner. The greatest care should
/ be taken to keep the films OF the paper
| from slipping when putting IN the paper
/ or clamping the frame back OF the print
| ing frame.
Exposure and Development.
| II will be found necessary 70 give the