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August 7, 1885.] . THE PHOTOGRAPHIC NEWS. Ordinarily the developers are mixed as follows :— 3 drachms of pyro solution, 8 drachms soda, and 7 ounces water, the am. pyro 8 drachms, and 8 ounces water. Two trays are used in developing the smaller sizes ; partly for expedition, and partly because slight modifications may be made quickly in the mode of development. The timing is j udged to be absolutely right, but a little short; the soda developer is poured into the tray, and the plate placed in it. Should development progress too rapidly, place the negative in it or the tray into which some am. pyro has been poured. Should the timing be considered a little full, start with the am. pyro first. If the exposure be first right, the am. pyro brings up the image almost as rapidly as in wet plate development, and the negative has a light straw colour bloom, with excellent printing qualities. Should its exposure be much too short, it gives too much colour and contrast. In such cases the soda developer is far superior. With the two developers combined in various propor tions, many modifications may be made. There is a peculiar relief or atmosphere effect given to the negative, which is distinguishable from that of either alone. In developing 18X2'2 or 20x24 plates, the ordinary method is modified in the following manner :—In the 16 ounce bottle is mixed 3 or 4 drachms of the pyro solution, 2 ounces soda solu tion, and the bottle filled with water. Into another 8 ounce bottle is poured 3 drachms pyro solution, 1 ounce soda solution, and filled with water ; into another 8 ounce bottle, 1 ounce am. pyro, and the bottle filled with water. The developing tray partly filled with water, and the plate placed in it and allowed to soak a few moments, or till the water will run off without a ridging, when it is quickly poured off, and the developer in the 16 ounce battle is dashed on and the tray rocked to secure even development. Should the exposure prove short, this developer, weak in pyro, will save it; or the exposure proving about right, pour it in 8 ounces of normal soda solution ; or if full exposure is indi cated, use instead the 8 ounce am. pyro solution, which will check rapid development, and give intensity without making a slow printing negative. It has been noticed in the development of large plates, whan the developer is any ways near the right power or strength, the image will come up quite rapidly at first, but will soon check up and proceed quite leisurely, and the mode of procedure prove right. But if the shadows come up too much before the checking begins, without the addition of more developers stronger in pyro, the negative will have to be over-developed to get printing strength; or if the stronger pyro solution be added, when really it is not needed, the negative will then have too much contrast, and if not speedily checked too much intensity also. It takes an exceedingly quick apprehension to realize in time to correct a mistake made in the commencement of develop ment, and what modifications are necessary to redeem the negative. It is impossible, in all cases, to begin development just right. Ample preparation should be made for all contingencies, as one should not rely too much upon his wit to help him out of a tight box ; and yet his mother-wit may be the ultimo theory in the redemption of an otherwise hopeless situation. The great thing is the ability to comprehend the situation in each par ticular case, the readiness to make possible modifications, and the grit and alertness to make them in time. It takes a brave man to avoid getting rattled, and winding up with a negative too thin, too intense, or with too much contrast. We will close with an answer to the question, “ Doos rocking the plate during development secure contrast ?" That evenness and cleanness are obtained by it, is not the question so directly to the answer. The molecules of brom, of silver, disturbed or changed by a proper exposure from the highest light to the deepest shadow, are in progressive diminu tion. All, or nearly all, of the brom, of silver, on or near the surface of that portion of the plate which represents the highest light, is changed, while but a small amount is a light effected in the deepest shadows. These mechanical agitations of the developer cause a more rapid chemical action, so that before the developer has had time to penetrate the film to any considerable extent, the reduction in high-lights has been carried to a much farther point than it otherwise would, had the developer remained quiescent. The start the high-light has secured over the shallows is maintained throughout ordinary development ; all the shadows requiring all, or nearly all the changed silver, both in and on the surface of the film, to give proper definition, the high-lights have time to darken sufficiently to produce proper contrasts. But there is still another factor contributed to the same result. The greater amount of free bromine thrown off in the high-lights, and combining with the quiescent developer lying immediately over the high-lights, retards development in the lights ; while in the shadows, the developer being less retarded from this cause, progresses too rapidly to secure contrasts ; but by agitation the power of the developer is kept uniform over the surface of the plates, and the high-lights retain all other advant age secured in the exposure. HOW TO SEE. BY J. F. RYDER. Seeing carefully or carelessly is a matter of habit which, when once formed, is as easily followed as breathing. The habit of observation becomes a pleasure and a study not to be put aside and taken up at will, but the following out of the routine of life. As considered in the pursuits of our profession, the portrait photographer has a constant study in the faces he meets, and in watching the play of light and the fall of shadows over them, whilst the landscapist is adapting a tree, or clump, or a rock for a foreground and suiting it to a middle distance. I speak of the habit as in my own experience. Although I have not made a business of personally handling the sitter and camera for the past fifteen years, the habit formed nearly foity years ago has been pursued with as active diligence as -when I was my own operator. If I fancied I had claims upon the Democratic party, and wanted a post-office, and was interviewing President Cleve land with a view to that end, while showing him what heroic work I had done in his interest, and how, evidently, he was occupying the chair through my efforts, I should at the same time be mentally lighting his head for a portrait. The visitor in my house who by his conversation seeks to interest me, or whom I am trying to entertain, as becomes the host, is turned to account as a study upon whom I am at work, discovering the most favourable point of view and the best direction to light from. I do not feel that I am taking an un fair advantage of him. I am simply studying from force of habit, and because I cannot help it. Whether in the business office, the private house, the church, the street car, wherever the light falls from a given point, and particularly if favourable to developing strong characteristic points of a head or face, imme diately the work commences. The unconscious model gives, without the asking, naturalness and ease of pose which would be sought for in vain with a camera pointed towards him. Then is the time to pursue the study, to carefully observe each point of vantage, and to store up the knowledge for future use. Acci dental findings are as good as knowledge sought for at a cost of much labour. Good teaching in free lessons is constantly offer ing itself. Those who choose may profit; it is only a question of seeing or not seeing. Erom the habit of observation comes the study of comparison, an easy way of finding a fitness of things as considered in rela tion to each other. And here rises, as though to answer a roll call, the three great powers most valuable to any business or profession—harmony, order, and system. They may bo con sidered the captains of three potent forces which, when truly ob served, are invincible. Applied to the simple needs of our business as aids to success, their value is as clearly shown as to the railway builders of our country. Considered in a business sense, the advantage of tasteful and harmonious fittings and furnishings of the photograph establish ment, whether upon a scale of extravagance, or the quiet simplicity of modest means, is a thing never to be overlooked. The visitor is favourably or uncomfortably impressed on enter ing a photographic studio. The person of no taste will not bo shocked with pleasant surroundings. A place may be never so attractive, he will take no exceptions. On the other hand, the tosthetic or finneky man might feel much discomfort at the violations of taste and harmony frequently found in the recep tion or business rooms of photographers, as to have his confi dence shaken in the skill of the proprietor, and incline him to look further. A five dollar note from the pocket of a dude is as good as that of the puddlerof iron or a tanner of hides. A well scrubbed floor is better than a dirty carpet; tidy simplicity- better than luxurious shabbiness. An orderly establishment is attractive and interesting ; it is the key-note to the proprietor’s character, and his business success. The value of tidiness, clean