VIII.—Don't mount with a jump, but slip lightly into the saddle. A gentleman weighing two hundred and twenty-three pounds leaped into the saddle of his wheel one day not long ago, and as a result the upper bar was bent into the shape of a hair-pin, the hind wheel was changed in its shape to that of an oval, and the pneumatic tire of the front wheel burst with such force that for a moment the gentleman thought somebody had fired a gun at him.
Any questions in regard to photograph matters will be willingly answered by the Editor of this column, and we should be glad to hear from any of our club who can make helpful suggestions.
TONING OF SILVER PRINTS.
The color of the silver print when it is taken from the printing-frame is not very pleasing, and if it is fixed in this state it assumes a yellowish-brown or bricky hue which is quite inartistic. To change this color to a more agreeable shade it must be subjected to the chemical treatment called toning—a process which the early photographers called "coloring."
The theory of toning is that one metal is substituted for another, and in the toning of silver prints with gold the gold is substituted for the silver. Silver and gold have a great affinity for each other, and in the toning of the silver prints the gold is deposited on the print somewhat after the manner of plating metals.
It is a well-known fact that finely divided gold is of many shades of color, from a rich red to a deep blue. The combination of the red of the silver subchloride in the print with the deep blue of the gold gives beautiful purplish, sepia, and black tones.