Naturalistic Photography for Students of the Art.

by P. H. Emerson

Hints.

Placing the plate in water before using the developer is equivalent to weakening the developer.

By first immersing the plate in the pyrogallic acid solution with no restrainer or alkali, the subsequent development is slowed, and greater contrast obtained. When pyrogallic acid is added in excess, too great density and fog result. By adding pyrogallic acid, greater density and contrast are obtained.

If the high lights are getting too dense, before the detail in the shadows is well out, take the plate out of the developer and let the details develop up with the amount of solution contained in the film, and then replace it in the developer for density, if necessary.

Develop plates coated with quick emulsions to a greater density than others.

Where there is much black and white in the picture, as in photographing sculpture against black velvet, weaken the pyrogallic acid. The alkali brings up the detail, and in properly exposed pictures increases density. In excess it causes fog. The rate at which the picture is to be developed can be governed by the restrainer, which also checks detail and increases density. For long exposures the restrainer should be freely used, whilst for quick-exposure work its use should be very limited.

Too much hyposulphite in the developer tends to solarization. Although its value in the alkaline developer has been denied, we are of opinion that in certain cases it is invaluable; it accelerates development in dark shadows, rendering the reflected light in the shadows as nothing else can. Captain Abney recommends its use in the ferrous oxalate developer only, but we are well assured of its value in conjunction with the alkaline developer in all cases of very rapid exposure.

The action of the developer is of course increased by the alkali, and slowed by the oxidizing agent, but the tonality is affected unless it be well governed by the restrainer.

If a picture flashes out quickly, add the restrainer and plenty of water. If it comes up very slowly, mix a new developer containing half as much restrainer as the normal and twice as much alkali.

The quicker the action of the developer the less marked the relative tones; this is most important to remember; the pyrogallic acid should never be extremely strong, never perhaps so strong as recommended in the standard formulæ. |Method.| We must remember, then, that we have our three necessary factors for development, the oxidizer, the alkali, and the restrainer, all of which we can modify at will. On our minds, too, we have, or should have, a vivid impression of the picture translated into black and white; we remember what we wish to emphasize, and what to subdue, so that the resulting picture shall be true in tone and impression. We proceed then to mix our developer accordingly, remembering first that the temperature of the developing-room makes a difference, and remembering that the photographic image exists on the film to a degree proportionate to the actinic value of the light which fell upon it. Therefore, if it is a brightly-lighted landscape in sunshine, taken with a full exposure, we must get a picture in a high key, but be it remembered in such a picture the light greys will be lost in the whites, as has been already shown; on the other hand, if it is a very low-toned effect, the dull greys will be lost in the blacks. |Slow development.| We must never forget to develop all plates slowly, let this be our ever-present rule, for by developing slowly, the student has far more command over his work, and that is what every artist seeks. No haphazard work, but complete control, so that we can mould the picture according to our will. And here we must again remind the student that he can never get scientifically correct gradations from high light to deep shadow, therefore he must be prepared to get only the true impression, and as a fundamental law, let him remember to watch over the truth of the lowest tones.