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634 THE PHOTOGRAPHIC NEWS. [September 11, 1891. If it is wished to arrange cut flowers otherwise than in a bouquet, or a vase, there is some difficulty in sup porting them in a manner which is effective. An American writer some time ago suggested that they should he laid on a flat surface—upon, a suitable background— and photographed from above. We consider that this method gives a somewhat unnatural result, for there is some difficulty in preventing the shadows cast by the leaves being unduly heavy. Some time ago we devised a plan of arranging flowers for photography by which excellent results may be achieved, but it involves some little trouble in the arrangement of the apparatus. It permits of the most delicate forms being supported without casting any shadows whatever, and the effects produced are extremely graceful and fairy-like. The necessary stand for the camera can be knocked together by anyone who can handle a hammer, and the expense is trifling. The stand referred to was made of an old camera tripod, with the head removed, and a triangular piece of pine with a two-inch hole bored in its centre, sub stituted for it. Upon this board, the camera is placed face downwards, with its lens projecting through the hole. The legs of the tripod are conveniently shortened, so that the image of the flowers can be focussed without using a pair of steps. Midway between the floor and the camera, a sheet of window glass is supported by means of cords stretching from leg to leg, or the glass may be made to rest upon screws temporarily placed upon the legs. Upon this sheet of glass the flowers are arranged in whatever manner the taste of the operator may suggest. A plain background of any description may be placed a couple of feet below, simply resting on the floor. Its condition and general appear ance is not a matter of much moment, for it will be out of focus. The lens which we used in the experiment was a portable symmetrical—stopped down—and, with the help of a yellow screen, and a very long exposure, we were able to get some very fine results. It may be mentioned that this method of supporting objects during exposure is most useful for other objects besides flowers. When a number of small articles— such as coins, geological specimens, or shells—have to be photographed it is most convenient. They have simply to be laid in position, and there they remain, without any aid from cement, pins, or any of the supports which have to be called into requisition when such objects are photographed against a vertical background. We trust that those of our readers who will care to construct the very simple appliance here described will derive as much benefit from it as we have. As far as we know, the idea is original with us ; but, in these days of universal photography, it is quite possible that we may have been forestalled. Mr. Lowes Dickinson, who was associated with Charles Kingsley, F. D. Maurice, Rosetti, Mr. Ruskin, and Dr. Fur- nivall in the conduct of the Working Men’s College in its early days, has an an extraordinary faculty for painting the portraits of deceased persons, even if he has never seen them, from photographs, the descriptions of friends, and from the study and observation of surviving relatives. His portrait of Gordon was a remarkable example.—Star. PHOTOGRAPHY IN GERMANY. BY HERMANN E. GUNTHER. Mignon Paper—Intensifying Process for Prints— Enamelling Albumen Prints—Reactions of Deve lopers—Printing with Flat Negatives. Mignon Paper.—A new gelatino-chloride printing-out paper, known as “ Mignon Paper,” which is manufactured by a firm in South Germany, has found a great number of adherents within the comparatively short time of its existence. It gives prints very similar to platinotypes, of a very fine velvet-black tone, and the paper is, therefore, recommended by some practicians as a substitute for platinotype paper. It is, perhaps, a little more sensitive than albumen paper, but its treatment during printing is the same as with the latter. After printing, the paper is washed for about ten to fifteen minutes in two or three changes of water, and then toned in a specially prepared sulpho-cyanide of gold bath containing one gramme of gold chloiide to each 100 c.c. of the liquid. This toning bath is furnished in two separate solutions (No. 1 and No. 2), of which equal parts are mixed, and diluted with distilled water. To tone twenty cabinets, 10 c.c. of Solution 1 are mixed with 10 c.c. of Solution 2, and the mixture diluted with 1,000 c.c. of water. The prints are toned until the half tones appear ash-grey, and the deepest shadows will no longer show a reddish colour by transmitted light. In this bath sulpho-cyanide of silver is formed by substitution, which adheres to the. prints in the form of a slight veil ; the latter is, however, quickly and completely removed in the subsequent fixing bath, consisting of a ten per cent, solution of hypo. After about ten minutes the prints are removed, and thoroughly washed in clean water. Finally, they are placed in a bath consisting of 5 grammes of am monia alum in 100 c.c. of hot water, which bath should ba cooled before use. After this hardening process the prints areagain well washed,and then dried. In order to impart to them a fine matt surface, they should be squeezed on to a finely-ground glass plate. The whole process is very similar to the ordinary gelatino-chloride printing-out process, and, in my experience, quite the same beautiful platinotype- like effects may be obtained with Liesegang's aristo paper if treated in the same way. Iniensifying Process for Prints.—The new printing pro cess which has been used by Max Lautner in his book, “Who is Rembrandt?” in order to increase the contrasts of the shades in the photographs of old oil paintings, has already been described in these pages on a previous occasion. As will be remembered, it consisted essentially in printing one and the same thin film negative twice on gelatino-chloride paper, firstly as usual, and then inversely from the back of the paper. Referring to this process, Dr. Stolze recommends another method, by which the contrasts or the intensity of the picture may not only be doubled, but increased about five times. It consists in the following : The negative is printed with short exposure on bromide paper, and developed with eikonogen as hard as possible, so that the lights remain quite clear. The print is then fixed and very thoroughly washed, and then bleached in a solution of bromide of copper. Finally, it is again washed very thoroughly and re-developed with eikonogen. Enamelling Albumen Prints.—According to the Photo- graphische Archiv,& highly glossy surface may be imparted to albumen prints without the use of gelatine in the follow ing way. Equal parts of ox-gall and of alcohol are mixed, and the mixture is allowed to stand for several days with